Brit singer Leigh-Anne Pinnock's dream of a summer wedding to Wolverhampton-born footballer Andre Gray, 28, has been shattered and to say she is merely disappointed is an understatement.

Leigh-Anne, 28, and Andre were to tie the knot in a private ceremony before the Coronavirus-caused lockdown emerged as
a hurdle.

Talking about her secret wedding plans, the Little Mix music group star, Leigh-Anne, told British tabloid, The Daily Star: “The wedding is probably not going to happen now because we can't go anywhere. He's probably not going to do it in the house. So it looks like my dream is officially over. I've not really been planning it, but every girl has got the idea of what they want; it is a dream of mine.”

Leigh-Anne and the Watford player have been together since 2016 and were looking forward to be husband and wife. “We both want it so bad. If I wasn't in Little Mix, we probably would have started planning already.”

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Arsenal's squad will be allowed back to their training ground from next week, although the club stressed they would still have to maintain British government guidelines designed to combat the spread of the coronavirus. The Premier League side's players will have access to training pitches but on a strict rotational basis that will see them uphold social distancing measures. "Players will be permitted access to our London Colney training grounds next week," said a club spokesperson. "Access will be limited, carefully managed and social distancing will be maintained at all times.

"All Colney buildings remain closed. Players will travel alone, do their individual workout and return home." This week saw Arsenal become the first Premier League club to agree a coronavirus pay cut with their players as manager Mikel Arteta and his stars slashed their wages by 12.5 percent. There are reports Arsenal, whose yearly wage bill is around £230 million ($286 million), will give players their money back in the event that they bridge an eight-point gap and qualify for the Champions League when football restarts. Football is currently suspended indefinitely in England, with the UK under lockdown.

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João Félix exploded onto the scene at Benfica in 2018 before a huge summer move to LaLiga with Atlético de Madrid. Here are five things you may not know about the Portuguese superstar...

1. His idol while growing up was Kaká
The similarities between the two are clear, both in playing style and appearance… brothers, anyone? But what isn’t so known is that Kaka was actually one of Joao Felix’s biggest idols growing up: the young Felix has spoken of watching YouTube video after YouTube video of the former World Player of the Year. The 20-year-old has also named Portuguese legend Rui Costa among his other inspirations while growing up.

2. Both his parents are teachers
Carlos and Carla, Joao’s parents, are both physical education teachers and he credits them with keeping him centred growing up. He has explained in interviews that his father would give him pep talks before matches and helped him stay focused during his teenage years; at the age of just 13 years he moved away from home to FC Porto’s academy, before later making the move to the capital with Benfica.

3. His first hat-trick in the Europa League was record-breaking
In April 2019, Joao hit the headlines across Europe with a stunning performance for Benfica in a Europa League match against Eintracht Frankfurt. By scoring three times in a 4-2 victory, he became the youngest ever player to score a hat-trick in the Europa League, doing so at the age of just 19 years and 152 days. That broke the previous record set by Marko Pjaca in 2014.

4. Diego Costa has taken him under his wing
From the start of pre-season, Joao and Diego Costa have forged a strong relationship. Costa is known to be a leader in the Atlético de Madrid dressing room and he quickly took the new arrival from Benfica under his wing, spending a lot of time with him and partnering with him in various drills. Both players are native Portuguese speakers, and this has helped the youngster settle in. Perhaps it’s no coincidence that it was Costa who assisted Joao’s first official goal for Atleti, against Eibar back in September.

5. His brother Hugo is also a highly rated prospect
Hugo Felix, João’s 16-year-old brother, is also highly rated and is doing well at Benfica’s academy. João was even able to celebrate goals with his brother last season, as Hugo was a ball boy at the Estádio da Luz on some matchdays. One particular goal that he scored against Vitória Setúbal ended with an emotional embrace between the siblings.

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Former Brazilian footballer Ronaldinho pleaded his innocence while speaking for the first time after spending 32 days in a Paraguayan prison. The former Barcelona forward is currently under house arrest in a hotel in Asuncion after he was arrested along with his cavalry for entering the country with forged documents.

Ronaldinho has insisted he didn't know his documents were illegal and also stated he showed full cooperation with the authorities in the aftermath of the airport fiasco.

"We were totally surprised to learn that the documents were not legal," Ronaldinho told ABC Color. "Since then our intention has been to collaborate with the justice system to clarify the facts.

"From that moment until today, we have explained everything and facilitated everything that has been requested of us.

"It was a tough blow, I never imagined that I would go through such a situation. All my life I have sought to reach the highest professional level and bring joy to people with my football," he added.

Ronaldinho also revealed what his plans are after he is allowed to go back to his home nation once investigation ends.

"The first thing will be to give a big kiss to my mother, who has lived through this difficult phase since the start of COVID-19 pandemic, at her home."

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Barcelona skipper Lionel Messi has often spoken about the liking he has had for former teammate Neymar and the Brazilian has now revealed how one of the greatest footballers to have played the beautiful game always had his back at the La Liga club.

"Honestly, it's difficult, very difficult for me to talk about Messi, because it was very special for me at Barcelona, I say this to everybody," he told Rede Globo's Esporte Espetacular.

"At the moment when I needed the most support, the best player in the world arrived and gave me a hand. He said: 'Come here, I'm here to help you.'" Messi had earlier spoken about how he is still in touch with Neymar and it will be slightly difficult for him to make a return to the club from Paris Saint-Germain.

"We talk to Neymar often. We still have a WhatsApp group with Luis (Suarez)", Messi told Argentina's Radio Metro, as quoted by ESPNFC.

"It's difficult for him to come back, as he left here, many club members and people do not want him to come back. From a sporting point of view he would be wonderful, but the other view is also understandable. It is a bit difficult," Messi had said.

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Football legend Diego Maradona, the manager of struggling Argentinian club Gimnasia y Esgrima La Plata, has praised the decision to suspend relegation from the country's top division until 2022.

The Argentinian Football Association (AFA) confirmed the move on Tuesday as it cancelled the rest of the top flight season amid the ongoing coronavirus pandemic.

The move spares Gimnasia from an almost certain drop to the second division, reports Xinhua news agency.

"It's not the end that we would have wanted, but it's a good decision," the 1986 World Cup winner told Argentinian newspaper Clarin.

"We were convinced that we were going to avoid relegation anyway. But this is reward for a group that has given everything for this club."

Gimnasia needed a strong showing in the Superliga Cup to have any chance or remaining in the top tier under Argentina's complex promotion-relegation system that considers results over a three-year cycle. The Cup competition was aborted last month after just one round.

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Argentina footballer Paulo Dybala has tested coronavirus positive for the fourth time in the last six weeks, according to media reports. This could come as a big blow for Juventus as Serie A had allowed players to return to individual training from May 4. "Spanish programme El Chiringuito stated Dybala has had four tests across the last six weeks and the latest one was positive again," the report in The Sun stated. Dybala was one of the first footballers to contract the virus along side Juventus teammate Daniele Rugani. In March, Dybala had taken to instagram to reveal he and his girlfriend both had tested positive.

Italy has been one of the worst hit countries in the world due to coronavirus pandemic as more than 200,000 people have been infected while in excess of 27,000 individuals have lost their lives so far. Italian sports minister Vincenzo Spadafora had earlier suggested that it would be easier to end the football season and if indeed the leagues do start, it should be a gradual process.

"It would be much easier to end the season immediately and the scientific community would agree," he wrote on his Facebook page. "Carrying on the world of football is a very important thing for our country, but we must do it safely. Remember when Serie A didn't stop? How many teams have gone into quarantine? The [Italian Football Federation] FIGC submitted a protocol and it was considered.

"Today we're at the end of April, we can't know for sure how the virus will evolve and how the rules will be respected, therefore we can't know when the season will resume.

"We've been working to resume training from May 18, but that doesn't mean the leagues will start up again," he added.

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Manchester City's Brazilian footballer Gabriel Jesus is doing his best to help his country during the COVID-19 pandemic. Gabriel has donated three tonnes of food to the poor in Brazil's notorious favelas from where he emerged as a footballer. He recently arranged for 400 food baskets to be delivered to Sao Paulo's Jardim Peri neighbourhood where he grew up.

The player has also got together with famous Brazilian singer Beto for a song that has been uploaded on YouTube to raise funds.

Gabriel, 23, has reportedly helped raised £370,000 (approx Rs 3.7 crore) alongwith fellow footballers to help some 32,000 families with relief material. Back in Brazil, when he played for Palmeiras as a teenager, Gabriel, then 17, earned around £3,500 a year (approx R3 lakh) before he went on to bag a whopping £75,000-a-week (approx Rs 67 lakh) contract with Manchester City in 2016.

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Argentine football legend Diego Maradona has asked the "Hand of God" to deliver the world from COVID-19 pandemic and allow normal life to resume. The World Cup winner referred to his hand-assisted goal in the 1986 World Cup after Argentine football chiefs voted to end the current season as well as suspend relegation, saving Diego-managed bottom club Gimnasia from the drop.

"Today this happened to us and many people say it is a new Hand of God," said Diego, alluding to his infamous goal against England. "But today I'm asking for that hand to end this pandemic so people can go back to living their lives, healthy and happy." Then-Argentine captain Diego responded to the controversy over his goal at the World Cup in Mexico by saying "it was the Hand of God!"

Argentina went on to beat England 2-1 in the quarter-final. On being thrown a lifeline by the suspension of the season, he told Argentine daily Clarin: "It's not the ending we had wanted, we were convinced we could save ourselves on the pitch."

Argentina has been in lockdown since March 20 against the Coronavirus, which by early Wednesday had infected 4,114 people with 207 deaths.

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Argentine footballer Paulo Dybala has tested positive for Coronavirus for the fourth time recently. His pop-star girlfriend Oriana Sabatini has also contracted the virus.

However, the couple have continued to keep their spirits high despite the setback. The Argentine pair have been constantly posting pictures and videos on social media to keep themselves and their fans entertained.

In one such post, the Juventus star and Oriana are seen honing their PlayStation skills.
In another video, the Argentine football star is seen working out in his home gym and simultaneously joining in a TikTok dance routine with Oriana.

In yet another video, Paulo is playing the piano while Oriana is singing. Some of Paulo's football pals like Douglas Costa, Claudio Marchisio and Nicolas Tagliafico have been impressed with his musical ability and even commented on the video.

Paulo and Oriana, the niece of Argentine tennis legend Gabriela Sabatini, first met in 2017 but announced their relationship only after the 2018 FIFA World Cup in Russia.

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Paris Saint-Germain were named as Ligue 1 champions on Thursday after France's football league declared the coronavirus-hit season over, leaving some other clubs disappointed and pondering legal action. PSG led the table by 12 points from Marseille when the season was suspended in mid-March because of the Covid-19 outbreak, which has killed over 24,000 people in France. The announcement by the LFP comes after Prime Minister Edouard Philippe said on Tuesday that "professional sports leagues, notably football, cannot restart" because of the pandemic.

"There is no ambiguity about this declaration. We needed to make a final decision about this season. We acknowledge that the 2019-20 season is over," said LFP president Nathalie Boy de la Tour, in a conference call with reporters. France becomes the biggest European league yet to end its season, just as its neighbours in England, Germany, Italy and Spain consider ways of resuming matches. Ruling out any possibility of copying the Netherlands, who voided their season without a champion, relegation or promotion, the LFP arranged a final table on the basis of average points per game.

Ten rounds of matches remained when the campaign was halted, although PSG and Strasbourg both had a game in hand. As a result, PSG are champions with an average of 2.52 points per game, with Andre Villas-Boas's Marseille second with an average of 2 points and qualifying for the Champions League.

Title dedicated to health workers

"We wish to dedicate this title to all health workers and other everyday heroes whose commitment and self-sacrifice throughout these long weeks deserve our admiration," said PSG president Nasser al-Khelaifi. It is PSG's ninth French title, the seventh in eight seasons for the Qatar-owned club being awarded in unique circumstances and with many of their foreign players -- including Neymar -- having returned to their home countries with France under strict lockdown. "We understand, respect and support the decisions taken by the French government to stop the season.

Health, as the government has always said, must be everyone's priority," added Al-Khelaifi, whose club still hope to be able to continue their Champions League campaign having reached the quarter-finals before action stopped. Rennes finish third and also qualify for the Champions League, while fourth-placed Lille will play in the Europa League.

Lyon to appeal?

Toulouse and Amiens, the bottom two, are condemned to relegation, with Lorient, as champions, and Lens coming up from Ligue 2. The usual promotion and relegation play-offs, meanwhile, have been ditched. However, Toulouse have kept open the possibility that they might now take legal action. The identity of the other European representatives depends on whether the finals of the two domestic cups are ever played. Large gatherings remain banned in France until September. However, if the French government and UEFA accept, both finals could be staged in early August with European places still up for grabs.

The LFP then hopes to begin next season by August 23 "at the latest". PSG were due to play Lyon in the League Cup final and Saint-Etienne in the French Cup final. If the games are played, Lyon and Saint-Etienne could qualify for the Europa League by winning. Otherwise, Nice and Reims would qualify by virtue of finishing in fifth and sixth in the league. Lyon -- seventh in the table when the season was stopped -- would otherwise miss out on European qualification for the first time in over two decades. Ironically, they were still involved in this season's Champions League when it was suspended, leading Juventus 1-0 after the first leg of their last-16 tie.

Lyon president Jean-Michel Aulas had previously stated his hope that the season could be played to a conclusion via play-offs in August and his club have now hinted at legal action. In a statement on Thursday, Lyon said they "reserve the possibility of trying to appeal against this decision and claiming damages and interest" and adding that "the losses for the club will come to several million euros". For all French clubs, the economic consequences of ending the season now could be dire. Resuming matches behind closed doors would have safeguarded TV income, but the loss for clubs in the top two divisions of remaining payments from broadcasters Canal Plus and beIN Sports is believed to be as high as 243 million euros ($266 million), plus 35 million euros for international rights.

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Subimal "Chuni" Goswami came for a routine check-up to a city hospital on Thursday morning and by evening he had suffered three cardiac arrests in 14 minutes to breathe his last and end an era, his son said.

"He had breakfast. Then we got him to the hospital. He was brought here for a routine check-up. He had lunch and even took a nap in the afternoon. But around 5 p.m., he suffered three heart attacks in 14 minutes," said a crestfallen Sudipto.

Goswami, who died at the age of 82, is survived by his wife and Sudipto.

Goswami was also battling underlying ailments, including sugar, and prostrate and nerve problems.

Goswami had to be given insulin daily and due to the COVID-19 lockdown, his medical supervisor was not able to attend to him on a regular basis.

"I don't have words at this point, feeling lonely," said Sudipto.

Goswami's biggest achievement was captaining India to the 1962 Asian Games Gold medal when India scripted a historic 2-1 victory against South Korea (Korea Republic) in the final to land India its second gold medal in Asian Games history.

Besides two editions of the Asian Games, Goswami was also part of India's Olympic squad in the Rome Olympics in 1960. He also captained India to the final of the AFC Asian Cup in Tel Aviv in 1964 and was part of India's campaign in the pre-Olympic qualification in 1959 (in Kabul), 1960 (in Kolkata and Jakarta), 1963 (in Colombo as captain), and in 1964 in (Tehran and Calcutta).

Goswami won the Arjuna Award in 1963 and was conferred the prestigious Padma Shri Award in 1983.

The versatile sportsman that he was, he also represented Bengal in the Ranji Trophy and even captained Bengal in 1968-69 season. He also played for East Zone in the Duleep Trophy. His first-class career as a cricketer ended after 46 matches and he scored 1,592 runs, including a century.

He also served the Tata Football Academy as its director and was appointed the Sheriff of Kolkata in 2005. In the same year, he was awarded the Mohun Bagan Ratna and was bestowed the Banga Bibhusan in 2013.

The Indian postal department also honoured Goswami with a commemorative stamp on his 82nd birthday earlier this year.

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Putting on weight is a common fear during this Coronavirus-caused lockdown. However, England football star Jamie Vardy's wife Rebekah prefers to deal with the issue in a lighter vein. While most celebs are posting pictures and videos of their workouts and chiselled frames, Rebekah uploaded this picture (right) on social media, showing off her flabs, a term she coined for her flabby abs.

Former model Rebakah, a mother of five, admitted that her weight-gain is because of excessive eating which included eating cookies and drinking wine.

"I've seen a lot of pics of people's amazing abs in lockdown so thought I'd share my cute little [FL]abs with you as well," Rebekah, 38, wrote on Instagram, going on to explain her daily diet. "For anyone interested in following my lockdown eating plan, it involves three quite healthy meals per day with my family, then I top up with a consistent intake of three cookies in between meals and after meals. Then, I make sure I'm keeping myself well hydrated with wine in the evenings," added Rebekah, concluding with a cheeky line: "I also do yoga."

 

 

 

View this post on Instagram

I’ve seen a lot of pics of people’s amazing abs in lockdown so thought I’d share my cute little (FL)abs with you as well. For anyone interested in following my lockdown eating plan it involves 3 quite healthy meals per day with my family, then I top up with a consistent intake of 🍪🍪🍪 in between meals and after meals & then I make sure I’m keeping myself well hydrated with 🍷🍷🍷 in the evenings. I also do yoga 🧘‍♀️ #keepitreal #nofilter #freetheflabs #loveyourbody ❤️

A post shared by Becky Vardy (@beckyvardy) onApr 29, 2020 at 10:30am PDT

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Italy's 20 Serie A clubs have reiterated their unanimous desire to complete the season as the northern Emilia-Romagna region became the first to open the way to training despite government restrictions. An emergency Lega Serie A assembly via video of the top-flight clubs took place after Sports Minister Vincenzo Spadafora this week said the chances of restarting were "increasingly narrow". League president Paolo Dal Pino stated after the meeting "his openness to a dialogue with the government from a constructive and collaborative perspective, obtaining on this position the full agreement of all the clubs."

Spadafora has warned that the government will call time on the season which has been suspended since March 9 if the Italian Football Federation (FIGC) fails to convince them on its health and safety protocol. An FIGC meeting slated for May 8 could be decisive. Meanwhile, the Emilia-Romagna region on Friday gave permission for local clubs, including top-flight sides Bologna, Parma, SPAL and Sassuolo, to resume training in sports centres from May 4 if they wished to do so.

Emilia-Romagna regional president Stefano Bonaccini has agreed to allow "professional sportspeople to train individually, in compliance with social distancing rules and without any gatherings in closed-door structures." Southern giants Napoli are also planning to return to training as their safety proposals have received the backing of local authorities.

Friday's league meeting also addressed the issue of TV rights, but no resolutions were adopted concerning broadcasters Sky, DAZN and IMG, with a final payment estimated at 340 million euros ($370 million) for the current season, due to be paid in May. FIGC president Gabriele Gravina has said that calling time would be "the death of Italian football", predicting losses of over 800 million euros in TV rights, sponsors, ticketing and marketing.

If the government did decide to pull the plug on the season it would have the support of a country traumatised by over 28,000 coronavirus deaths. According to a recent survey, two out of three Italians would support a stoppage, in particular in the northern epicentre, stronghold of heavyweights Juventus, Inter Milan and AC Milan and Atalanta.

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Former Manchester United defender Gary Neville has accused Premier League clubs of being "frightened to death" to publicly back the plan to restart the season.

Premier League stakeholders met on Friday to debate how to finish the current campaign, with reports that some clubs want to abandon the season due to the pandemic and others are keen to play all remaining 92 fixtures.

Teams avoiding blame
Neville believes clubs do not want to be held liable should a player become ill with the Coronavirus if the English season resumes. The French and Dutch seasons have been called off because of the health crisis and while the Premier League have apparently ear-marked a June return, that date is far from set in stone.

Claiming there needs to be more public comment from clubs, Neville wrote on Twitter: "The PL are having a CV nightmare. They keep shouting health first but then brief constantly 'We have to Re-Start'. I'd respect them more if they said, 'We accept the increase in health risk but it's one we are willing to take'. They won't as they are frightened to death!"

When Neville was asked by a Twitter user what would happen if someone died as a result of the restart, he said: "That's why we haven't heard one single prominent CEO/Chairman/Owner or Executive open his mouth to back the re-start! Brief/Brief/Brief! Scared to death of the liability and blame."

No virus talk
Before making an exception for Brighton as the "only club willing to take a stand", Neville added: "It would be good for them to speak at least once. Any of them! Clubs included. They are bottling this virus on comms. Very Happy to tell us when they are delivering food parcels though." Brighton's chief executive Paul Barber voiced opposition to the idea of finishing the season at neutral venues.

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Manchester City midfielder Kevin De Bruyne believes the Premier League season will be finished despite the coronavirus pandemic "because the financial aspect is far too important". "My feeling is that we may be able to train again within two weeks. The government wants to restart football as soon as possible to give people something. I think this season will be finished," De Bruyne told Belgian daily Het Laatste Nieuws.

"The financial aspect is far too important in the Premier League. If the season is not finished, it will cause serious problems," he added. Clubs were presented with the league's "Project Restart" plans at a meeting on Friday and were told the remaining 92 matches of the 2019-2020 season must be played at neutral venues. De Bruyne also said he was optimistic about City's participation in next season's Champions League. UEFA has banned the club from European competition for the next two years for "serious breaches" of financial fair-play rules.

"The club told us they're going to appeal and that they're almost certain to get their way. I'm waiting to see what happens, but I trust my club," said De Bruyne. The 28-year-old Belgium international admitted he would be forced to consider his City future if the ban was upheld. "Once we know more, I will make a decision. Two years without playing in Europe would be long but in the case of one year I might see," he said. bnl/jr/mw/nr

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Italy offered Serie A clubs a glimmer of hope on Sunday after it said footballers could take part in individual training sessions as the strictest coronavirus lockdown measures begin to ease. The interior ministry's go-ahead for players to attend their club's training facilities offered fans in the football mad country the first sign that the 2019-20 season might yet be saved. Matches were abandoned on March 9 in the face of a health crisis that has now officially claimed nearly 29,000 lives in Italy and 245,000 worldwide. Some of the bigger clubs with title aspirations from the less affected regions have been talking about going back to training for weeks.

But Prime Minister Giuseppe Conte only allowed teams to resume organised activities on May 18 -- a date that might push back this season's completion into the start of the next. Several regions that have avoided the worst of the pandemic have taken matters into their own hands and allowed clubs to open their facilities for players to train on their own. Teams such as Napoli and Parma have followed the lead of Lazio -- trailing leaders Juventus by just a point -- and gave the nod for players to return. They insisted that they were not breaking the rules because Conte has allowed all Italians to start exercising in open public places starting Monday. The interior ministry bowed to the seemingly inevitable on Sunday and agreed that teams can open their facilities to players for training. "Athletes, professional or otherwise, of non-individual sports are allowed -- just as every citizen -- to exercise in public or private areas," the interior ministry said. But players must "respect social distancing rules of at least two metres and the ban on public gatherings."

'All together'
Italian media read the statement as an encouraging sign for football. "Serie A clubs (and not only) can return to training," the La Repubblica daily wrote. Yet Sports Minister Vincenzo Spadafora has noted that the path for football to return was getting "increasingly narrow". And league president Paolo Dal Pino said Serie A "will comply" should Conte decide that it was simply too dangerous to complete the campaign. The teams themselves seem hopelessly divided about what they should do. Those that play in northern regions that were hardest hit by the virus have voiced the gravest concern. Brescia president Massimo Cellino -- whose team is based at the very heart of the outbreak -- said in March that he would rather forfeit games than play in a "plague". The 63-year-old revealed that he had tested positive for the virus a few weeks later. "It would be unfortunate if some teams can start again and others cannot," Fiorentina coach Beppe Iachini said on Saturday. "I think teams like Atalanta, Milan, Inter, Juve and Turino have had more problems than the others," he said of the main northern clubs. "If we do start, we have to do it all together."

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Liverpool striker Divock Origi said it will be painful if they don't win the Premier League title despite being 25 points ahead at the top when the season was stopped abruptly in the wake of coronavirus pandemic.

The Belgian, however, agreed that safety of players and fans is the most important thing in these unprecedented times and there are things in life which just cannot be controlled.

"It would be painful if we can't get that title now. But there are things in life you cannot control. Safety is the most important thing now," Origi told Het Laatste Nieuws as per Daily Mail.

The Reds were on course for their first-ever Premier League title before the season was stopped on March 13. The last time Liverpool lifted the league trophy was 30 years ago, before the Premier League era.

Jurgen Klopp's troops lead the way with 82 points in 29 games while second-placed Manchester City remain 25 points behind with one game in hand.

Former Liverpool defender Fabio Aurelio had earlier said that the Reds should be declared champions if the current season cannot be finished.

"Even if the title is not officially recognised, everyone knows that the title belongs to Liverpool," the 40-year-old said in an interview to Globo Esporte news portal.

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Former footballer Xavi Hernandez, hoping that Paris Saint-Germain star Neymar will return to Barcelona, said that the latter is among the 'top three or five players in the world'.

"Footballing wise, he's in the top three or five players in the world, no doubt," Goal.com quoted Xavi as saying during an Instagram chat with ex-Barca forward, Samuel Eto'o.

 

 

 

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Avui em connectaré a @roadto2022es per fer una sessió de preguntes i respostes en viu amb @setoo9. Si tens qualsevol pregunta per nosaltres, escriu-la a sota en els comentaris. Les preguntes i respostes es realitzaran a Instagram Live a les 18h horari de Doha, dilluns 4 de maig. ___ Hoy me conectaré a @roadto2022es para celebrar una sesión de preguntas y respuestas en vivo con @setoo9. Si tienes una pregunta para cualquiera de nosotros, escríbela en los comentarios a continuación. Las preguntas y respuestas se realizarán en Instagram Live a las 18:00 hora de Doha, el lunes 4 de mayo. ____ Today, I’ll be in @roadto2022es to participate in a Q&A live session with @setoo9. Send us your questions in comments below, and we’ll answer them on Instagram Live today, Monday 4th, at 18:00h (Doha time)

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"He can make the difference. Let's hope he returns to Barcelona. I'm a Barcelona fan and I want the best players there," he added.

After a four-year stay in the club, the former Barcelona player, Neymar, left in 2017 to join Paris Saint-Germain.

During the interaction, Xavi also expressed a desire to manage Barcelona saying that it is his dream to coach the club.

"In January, it wasn't the right moment. I had conversations with Eric Abidal [Barcelona's sporting director] and Oscar Grau [Barcelona chief executive] and a big offer, but it wasn't the right moment. I need a bit more experience. Coaching Barcelona is my dream. I'd like to do it one day. I've said that many times," he said.

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Former Manchester United defender Patrice Evra has said he received death threats following a racism row involving then-Liverpool forward Luis Suarez in 2011. Uruguay striker Suarez was banned for eight matches by the English Football Association after being found guilty of misconduct for insulting comments to Evra, which included a reference to the left-back's skin colour, at Anfield in October that year. Liverpool, however, mounted a prolonged and public defence of Suarez's conduct as the row between the rival clubs escalated.

Evra said one consequence of the backlash included letters threatening the Frenchman and his family. "Manchester United received so many threatening letters about me," Evra told the club's UTD podcast. "People said: 'We're in jail, we're Liverpool fans. When we get out, we're going to kill you and your family'." Evra said the nature of the threats meant he had to be protected by bodyguards.

"For two months, I had security everywhere I went. They were sleeping in front of my house. Everywhere I went, the security followed me. "It was a tough time, but I wasn't scared. My family were scared: my wife and brother, but I wasn't. "I couldn't understand why people hated me so much. They didn't know the truth." Evra, who saw his attempt to shake hands with Suarez before a match the following February rebuffed by the striker, said he had forgiven his old antagonist and even spoke to the now Barcelona star before the 2015 Champions League final when playing for Juventus.

But it was a very different story at the time , which saw Evra forcing himself to control his emotions after reporting the incident to match referee Andre Marriner, who said it would be dealt with after the game and that both players should continue.

"I remember, during that game, I was talking to myself saying: 'If you punch him now, people will see you as the bad one, people will forget about what he said'," recalled Evra. "I was talking to myself: 'Don't do... do it...' I wasn't focused for the game."

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Former Barcelona player Xavi Hernandez is certain of ex-teammate Lionel Messi featuring in the FIFA World Cup Qatar 2022 as he said that the Argentine has still got "five or seven very good years left in him".

"He's still got five or seven very good years left in him," Goal.com quoted Xavi as saying during an Instagram chat with another ex-Barca forward, Samuel Eto'o.

"He takes good care of himself and he can keep playing until he's 37, 38 or 39. He'll play at the Qatar World Cup, I'm sure," he added.

The 32-year-old Messi scored 24 goals this season in all competitions before coronavirus pandemic brought the football season to a standstill.

Xavi also expressed his desire to manage Barcelona saying that it is his dream to coach the club.

"In January, it wasn't the right moment. I had conversations with Eric Abidal [Barcelona's sporting director] and Oscar Grau [Barcelona chief executive] and a big offer, but it wasn't the right moment. I need a bit more experience. Coaching Barcelona is my dream. I'd like to do it one day. I've said that many times," he said.

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A video of Hertha Berlin forward Salomon Kalou shaking hands with his team-mates "shocked" key German politicians, who are set to decide Wednesday whether the Bundesliga can resume next month. "The video has done the German league (DFL) and professional football a disservice," Anja Stahmann, chairwoman of Germany's regional sports ministers, told radio station RBB on Wednesday. "I have heard from colleagues that they are shocked and shaken.

"We were struck by great doubts when we watched the video," admitted the sports senator for the state of Bremen. "I got the impression that good rules were being written down on paper, but that they were not actually being lived out." The Bundesliga is set to be given the green light by the government on Wednesday to resume later this month behind closed doors and with strict hygiene measures in place.

Germany's regional sports ministers have already approved the Bundesliga's plans to resume, but Stahmann said Ivory Coast international Kalou's video left a bad impression. "Some people think the Bundesliga has lost its grip in times of a pandemic," Stahmann added. On Monday, the former Chelsea forward was suspended by Hertha after posting a video to Facebook showing him greeting team-mates and club employees with handshakes, flaunting hygiene guidelines laid out by the league. Kalou apologised for disregarding the social distancing rules, saying: "it was a big mistake".

The 34-year-old also said he could understand how his video, shot in the dressng room, caused shockwaves as the league was seeking permission to return to action. Kalou has scored 48 goals in 151 Bundesliga games for Hertha, but is out of contract at the end of the season and could have played his last game for the club. "It was respectless and I want to apologise for that sincerely," he added.

"But I am about more than those five bad minutes that people see of me in the dressing room." However, Kalou's video drew criticism from the top of the German government. Health minister Jens Spahn said it was "right" that Hertha suspended Kalou and there were "consequences after the video".

Bavaria's premier minister Markus Soeder said the league has developed an "excellent" hygiene concept but "there are individual players, as we have read, who are behaving very, very poorly".

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The virtual war between WAGs Rebekah Vardy, 38, and Coleen Rooney, 34, is far from over. It is learnt that Rebekah, wife of Leicester City footballer Jamie Vardy, wants a public apology from Coleen, the wife of former England captain Wayne Rooney, for accusing her in October of leaking fake stories to the press via social media.

While both ladies are currently locked in a legal battle, it is learnt that they will have an arbitration meeting on Zoom this week in a bid to avoid a costly court case, reported British tabloid, The Sun.

"Becky [Rebekah] is adamant she's done nothing wrong and has told her team she wants a public apology," an insider told the newspaper. "She was hurt that Coleen went straight on social media to lay the blame at her door, rather than speaking to her privately. She has maintained her innocence throughout and doesn't want this to be brushed under the carpet without Coleen publicly apologising," added the source.

The two used to be good friends before Coleen claimed in October that Rebekah's Instagram account had been leaking false stories to the press. Subsequently, Rebekah endured a lot of abuse on social media.

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Former Argentina footballer Martin Cardetti named his pick between Ronaldinho and Lionel Messi, two of the greatest footballers ever to grace the game.

Cardetti, manager of Ecuadorian football club Mushuc Runa, said he saw the Brazilian from close quarters during their time together at Paris St. Germain and according to him, Ronaldinho is one-of-a-kind footballer.

"As a coach, for my team I would choose Ronaldinho at his best over Messi," Cardetti told El Crack Deportivo as per Goal.com. "I shared a year with Ronaldinho and he is a different player, he's touched by God.

"He always had fun; with the ball he was always doing things and he practiced a lot so that he could replicate those things in matches.

"You see him in training, in matches and every move he makes is different from everyone. Players like him appear very rarely and they are remembered in football history," he added.

Before Messi started ruling the roost at Barcelona, Ronaldinho was a fan-favourite at Camp Nou. He stayed with the Spanish Giants from 2003 to 2008 and won two LaLiga titles and one Champions League trophy.

As for Messi, he has so far won 10 LaLiga titles, six Copa del Reys and four Champions League titles. Messi is also a six-time Ballon d'Or winner.

On the international stage, Ronaldinho trumps Messi as he is a World Cup winner with Brazil and the Argentine is yet to open his international account. Messi although won the Gold with Argentina at 2008 Olympics.

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The Spanish football league is all set to resume in June and La Liga's India managing director Jose Antonio Cachaza has revealed that they will resort to maximum testing of players to allay any fears of them contracting COVID-19.

Spain is one of the worst hit countries with around two lakh COVID-19 cases till date.

Most La Liga teams have been allowed to return to training this week after the government eased lockdown restrictions. However, the fear of contracting the Coronavirus is widespread, said Cachaza, for which a four-phase de-escalation programme is being introduced to ensure all players are free of the infection.

"The current week is only for testing of the players and preparing the grounds," Cachaza said in an online media interaction from Spain.

Jose Antonio Cachaza

"Once players are fit to play, we will disinfect the venues. All matches will be played behind closed doors with a maximum of 250 people to avoid any unwanted situation," he added.

When asked what happens if a player tests positive once the season starts, Cachaza said: "That can always be the case. If you see the Bundesliga, they are about to start their season but still have positive cases. We will be ensuring testing at regular intervals as well to keep a check on players." Unlike the English Premier League and the Bundesliga, the La Liga is yet to finalise on a date to resume the season as Cachaza said they are awaiting authorisation from the Spanish government. "We are in constant talks with the government and as of now, we have authorisation to only start with training. Next week, the players will be allowed to train on their own, with a maximum of six players on the pitch. The following week [May 18 onwards], players will be permitted to train in small groups before a return to larger team sessions,"2020-05-08 Cachaza explained.

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Portuguese footballer Bernardo Silva has reportedly found love during the ongoing Coronavirus-caused lockdown.

The Manchester City star, who split from his French model girlfriend Alicia Verrando two years ago, is said to be in a relationship with Portuguese model Ines Tomaz.

According to a report in the Portuguese media, Bernardo has been in lockdown near Lisbon in Portugal with Ines for over a month, but the couple are not keen to rush into things.

"They've not been together for very long and they want to take things slowly," a source told Portuguese newspaper Correio da Manha.

It is learnt that Bernardo and Ines have been watching Netflix, playing the piano and even learning to cook together. Bernardo revealed last week that he was in quarantine with a group, including Ines, and had even posted a picture of the bunch on social media.

"Hey guys, it's been over a month that we're all locked down in our homes so I have decided to show you a little bit of what our quarantine looks like. This is the group of friends with whom I'm spending my quarantine," he wrote.

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From a childhood nickname to his world champion horse, these are some of the lesser-known facts about the Real Madrid captain and legend

1. His nickname as a child was Schuster
As a child, Sergio played up front and was nicknamed ‘Bernd Schuster’ after the great German goalscorer by the friends he played with on the grass outside his apartment block. He’d go on to play in defence throughout his career, at right-back and centre-back, but has maintained his brilliant goalscoring ability. Coincidentally, he was even coached by Schuster at Real Madrid between 2007 and 2008.

2. He’s only ever worn the number 4 shirt at Real Madrid, but never for Spain…
When Ramos arrived at Real Madrid, he was touted to fill the void left by the departing legend Fernando Hierro. Ramos wasn’t shy about taking on the challenge and adopted Hierro’s famous No.4 jersey from day one. That has been the number on his back during his entire decade-and-a-half career at the Santiago Bernabéu. Funnily enough though, Ramos picked a different number for when he plays with the Spanish national team: 15.

3. He has never scored for Spain at a major tournament
Sergio is Spain’s all-time record appearance holder (170) and has scored 21 goals for his country, a mightily impressive tally for a defender. Bizarrely enough, though, he’s never scored for Spain at a major tournament. Each of his 21 strikes has come in qualification rounds, in friendlies, or in the UEFA Nations League. Beyond penalty shootouts, he’s never scored at a World Cup, European Championship or even the Confederations Cup.

4. He didn’t win a Champions League knockout tie until the age of 25
Ramos has four Champions League titles to his name, winning the tournament in 2014, 2016, 2017 and 2018. He may undoubtedly be one of the all-time greats of the competition, but it’s easy to forget that he didn’t reach the competition’s quarter-final until the age of 25. He never played in the Champions League with Sevilla, then his first few years at Real Madrid coincided with a barren spell for the capital city club in which they were consistently knocked out in the first knock-out phase. Finally, in 2010/11 after the arrival of Jose Mourinho, Ramos made it to his first quarter-final, against Tottenham Hotspur. He’s certainly overcome that initial disappointment as the years have gone on.

5. His horse Yucatán de Ramos is a world champion
Like any true Andalusian, Sergio loves horses and has done since childhood. He owns stables near his hometown of Seville, and Yucatan de Ramos, his star horse, won a world championship at the 2018 Interntional PRE Horse Fair recognising it as the finest pure-bred Spanish horse in the world.

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German professional football is going to return to action on May 16 to 18 with its first and second tier getting back underway. League association CEO Christian Seifert announced the permitted re-start is planned without games on Friday evening but contains two rounds of matches during the week. "We wanted to follow the wording in the orders of politics strictly," the 50-year-old commented, reports Xinhua news agency. All games will be run behind closed doors.

The season was interrupted mid-March due to the coronavirus crisis. Nine rounds remain plus one postponed match. German Chancellor Angela Merkel and the 16 federal state prime ministers gave the green light for a restart on Wednesday based on a comprehensive hygiene concept. Most of the 36 clubs voted for the earliest possible start. At least two sides, such as Werder Bremen and FSV Mainz 05, demanded a start one week later to gain time for additional training.

Seifert announced the season is to be continued with matchday 26, which contains the delicate derby of Borussia Dortmund against the FC Schalke 04 on Saturday. Six games are notified for Saturday, two on Sunday and one on Monday evening. All match-days contain a so-called late-game in the evening. The table leaders Bayern Munich face an away game against league newcomer Union Berlin Saturday evening.

The season's last games are planned to take place on June 27 to 28. Seifert indicated the Champions League final could be run around the end of August. The German Cup has to be rescheduled. To address parts of the demands of Bremen, their game against Bayern Leverkusen is scheduled for Monday on May 18. The federal state of Bremen was one of the last spots allowing training in smaller groups.

All 36 clubs took up full team training this Thursday. From Saturday on, all clubs attend an obligated seven-day-long quarantine. Players, staff, and family members will undergo a diverting number of tests. Referees are going to be tested by next week. Seifert said football concept could be a blueprint for other team-sports, fighting sports and athletics as well as for orchestras and theaters.

Clubs and association are in close contact with fan groups to avoid gatherings around the arenas. Therefore, negotiations take place with pay-tv broadcasters to provide certain games on free tv.

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How will you define ‘normal’ human behaviour? And what is the criteria to be followed by a person that he/she can be considered as ‘normal’? We have seen in films like MY NAME IS KHAN [2010], TAARE ZAMEEN PAR [2007] etc. wherein the protagonists’ behaviour were such that they stood out and were even ostracized. But still they were special and earned respect in society after a long struggle. Now, writer Kanika Dhillon and director Prakash Kovelamudi bring us JUDGEMENTALL HAI KYA that tackles these issues but unlike the aforementioned films, this flick goes into an unconventional zone with even a murder occurring in the narrative. So does JUDGEMENTALL HAI KYA manage to entertain and thrill the audiences? Or does it fail to make the impact? Let’s analyse. <img class="aligncenter wp-image-1002336 size-full" title="Movie Review: Judgemental Hai Kya" src="https://www.bollywoodhungama.com/wp-content/uploads/2019/07/Movie-Review-Judgemental-Hai-Kya.jpg" alt="Movie Review: Judgemental Hai Kya" width="720" height="450" /> JUDGEMENTALL HAI KYA is the story of a woman with mental issues trying to solve a supposed crime. Bobby Batliwala Grewal (Kangana Ranaut) is an orphan who has lost her parents at a young age. She is partly responsible for their demise. Bobby grows up as a disturbed individual and her grandfather (Lalit Behl) takes care of her. She stays separately from him and works as a dubbing artiste for South films. She is on medication for her mental condition but she doesn’t consume her pills. She is in a relationship of sorts with Varun (Hussain Dalal) who is desperate to get physical with her. But she doesn’t give him the opportunity. At this point, Bobby gets a new tenant – Keshav (Rajkummar Rao) and his wife Meena (Amyra Dastur). Both are deeply in love with each other. Bobby spies on them and she starts to imagine herself with Keshav. However, she also gets intrigued since Keshav seems mysterious. In front of Meena, he pretends to be a non-smoker and a vegetarian. But Bobby catches him smoking heavily and also relishing chicken. She starts to trouble them and then it reaches a point where Keshav and Meena decide to move to another place. Before that can happen, a gas explosion occurs in their kitchen and Meena dies. The cops (Satish Kaushik, Brijendra Kala) begin their investigation. Bobby makes it categorically clear to them that Keshav has murdered Meena but doesn’t have concrete proof. The police officers interrogate Kehsav as well but realize it was a case of accidental death. Hence, they decide to close the case. An enraged Bobby assaults Keshav and she’s sent to mental asylum for a brief period of time. Two years later, Bobby seems to be in control. She’s started regular medication and her grandfather sends her to her cousin Megha’s (Amrita Puri) place in London to help in a stage production on Ramayana. All is going fine when Bobby gets a jolt when she spots Keshav. What happens next forms the rest of the film. Kanika Dhillon’s story is unconventional and quite promising and entertaining. Kanika Dhillon’s screenplay is interesting but in some parts, she falters. This is particularly in the second half where the film goes into another zone and doesn’t seem convincing. She however raises some interesting points on the idea of ‘normal’ and even draws parallel with Ramayana. Only if all these things had come together well, the impact would have been manifold. Kanika Dhillon’s dialogues suit the film, especially the ones mouthed by Kangana. Prakash Kovelamudi’s direction is appropriate and he uses his technical knowledge well. The film is very stylishly narrated which goes with its theme and also the title. In a few scenes, he shows his brilliance but goes over the top in the second half’s pre-climax especially. Also, a few scenes might seem difficult to digest, particularly the scene where Bobby confronts Keshav. He was treading line with this film and sadly, he trips at places and this affects the impact. <span style="text-decoration: underline;"><strong>Judgemental Hai Kya | PUBLIC REVIEW | First Day First Show | Rajkummar Rao | Kangana Ranaut</strong></span> <iframe id="jwiframe" class="playerFrame" src="https://www.bollywoodhungama.com/video/judgemental-hai-kya-public-review-first-day-first-show-rajkummar-rao-kangana-ranaut/?jwembed=1" width="800" height="340" frameborder="0" allowfullscreen="allowfullscreen"></iframe> JUDGEMENTALL HAI KYA’s intro scene shows the disturbed childhood of Bobby in a brief and concise manner. Once Bobby grows up, it takes a while however to get in the film’s flow. This is because the character is unconventional and unlike anything that we have seen in Hindi films. Hence her mannerisms, actions, way of living life etc. are not exactly ‘normal’. Things get interesting once Keshav and Meena arrive to reside at her place as tenants. Keshav also seems mysterious and the scene where he is fixing the fuse at midnight is quite nicely done. The Lonavala sequence also is funny. But it’s when Meena passes away that things begin to heat up. The intermission point is a shocker. Post-interval, the interest level is maintained with some unexpected developments. But this is also the point where bizarre things start happening in the film. One can argue even the first half had its share of bizarre stuff but in the second half, the makers go completely overboard. The film is still unpredictable but the theme and execution will restrict its audience to only multiplexes of urban areas. Performance wise, Kangana Ranaut nails the part. This was probably her most challenging part yet and she delivers as per expectations. Any other actress in her place would have to put a lot of effort and it might have made her performance mechanical. But Kangana slips into the part with ease and takes it to another level. Rajkummar Rao also gets to shine. He’s too good as the mysterious Keshav. But he’s at his best in these two scenes wherein he begs Bobby to spare him and his wife. Amyra Dastur is cute and plays the supporting part well. Same goes for Amrita Puri. Satish Kaushik and Brijendra Kala are apt for their respective roles. Hussain Dalal is a talent to watch out. He’s very funny and adds a lot to the film. Jimmy Sheirgill (Shridhar) is endearing in the special appearance. Lalit Behl is decent. Kanika Dhillon (Sita), also the writer of the film, is stunning and gets to play a fine part in the film. Songs don’t really make an impact. The title song stands out but comes at a time when the film turns very bizarre. <em>‘Kis Raste Hai Jana’</em> is okay. <em>‘Wakhra Swag’</em> appears during the end credits. Daniel B George’s background score however is way better and is zany just like the film’s theme. Pankaj Kumar’s cinematography is conventional and yet works in a film like this. Sheetal Sharma’s costumes are quite quirky especially the ones worn by Kangana Ranaut and she looks great. In fact, costumes add a lot to her character. Ravi Shrivastav’s production design is praiseworthy, especially for the Ramayana play. After’s VFX is average and the cockroach shots could have been more realistic. Shweta Venkat’s editing (with additional editing by Prashanth Ramachandran and Shieeba Sehgal) is fine. The duration of the film is just 116 minutes and that’s a plus point. On the whole, JUDGEMENTALL HAI KYA is a well-made film with powerful performances from both Kangana Ranaut and Rajkummar Rao. At the box office, it will cater mainly to the multiplex frequenting audience.

Comedy is an established genre in Bollywood. Since audiences are now ready for <em>hatke</em> stuff, filmmakers are constantly trying to push the boundaries in the existing genres too. This Friday coincidentally sees the release of two such films, although both the movies are as different as chalk and cheese. While JUDGEMENTALL HAI KYA has violent undertones, the other film – ARJUN PATIALA – is like a spoof comedy, on the lines of famous Hollywood films like SCARY MOVIE and DEADPOOL. Bollywood has rarely made such films and one recent film in this space was WELCOME TO NEW YORK [2018]. It was a huge failure in all respects and now its lead actor Diljit Dosanjh appears in another spoof film, ARJUN PATIALA. So does ARJUN PATIALA manage to entertain and emerge as a pioneer of this genre in Bollywood? Or does it fail to entice? Let’s analyse. <img class="aligncenter wp-image-1002474 size-full" title="Movie Review Arjun Patiala" src="https://www.bollywoodhungama.com/wp-content/uploads/2019/07/Movie-Review-Arjun-Patiala.jpg" alt="Movie Review Arjun Patiala" width="720" height="450" /> ARJUN PATIALA is the story of a cop trying to achieve a crime-free district. A struggling director (Abhishek Banerjee) meets a rich third-generation producer (Pankaj Tripathi). After ensuring that the director has put all the necessary ‘ingredients’ needed for a <em>masala</em> entertainer, the producer allows the narration of the script. The director then starts to tell his story – that of a police officer named Arjun Patiala (Diljit Dosanjh). He becomes a sub-inspector through sports quota and he is posted at Ferozpur Police Station in Punjab. Within a few days, he falls for Ritu Randhawa (Kriti Sanon), an honest reporter working for Tezz News Channel. He is also visited by his senior, DSP Gill (Ronit Roy). Arjun looks up to him since childhood and he is the reason why he decided to be a cop. DSP Gill shares with him his dream of making Ferozpur a crime-free district. Ritu meanwhile helps Arjun in sharing the list of baddies in the area. There’s Baldev Rana (Amit Mehra) who is so brash that he even beats up police officers if they come in his way, Sukool (Mohd. Zeeshan Ayyub) who runs a brick kiln, his brother Anda (Sumit Gulati) and finally Dilbaug Singh (Himanshu Kohli) who runs his business from jail and also has haemoglobin problems. Arjun devises a plan – he generates a gang war between them, hoping that they’ll all kill each other and hence DSP Gill’s dream will be achieved. However, there’s also MLA Prapti Makkad (Seema Pahwa) who seems to be the biggest villain of all and also has ulterior motives of her own. What happens next forms the rest of the film. Ritesh Shah and Sandeep Leyzell's story is outdated. The writers had some good ideas but fail to put it together on paper. Ritesh Shah and Sandeep Leyzell's screenplay is shockingly horrible. It’s like an apology of a script. The attempt to make a spoof comedy and taking a dig at conventional Bollywood films is something that could have paid dividends. They also had some very funny characters and any other worthy writer would have made a complete laugh riot. Alas, the writers of the film let these characters go waste. They add some dry and beaten-to-death moments and twists. In fact, it’s bewildering how this script got approved in the first place. Ritesh Shah and Sandeep Leyzell's dialogues are also dry and fail to evoke laughter. Rohit Jugraj's direction is smooth for most places but with such a poor script, there isn’t much he could have done. At a few places however, he rushes through the film and this was avoidable. For instance, it’s never properly established why Sukool agrees to bump off other villains in the district. A few more minutes should have been spent in establishing the tensions between the various gangs. If Rohit had done the needful, the end result would have been better but still, the film would have emerged as a disappointment as the content itself is not worth it. ARJUN PATIALA begins on a great note. The manner in which the producer and director converse over the <em>‘masala’</em> script is interesting. The opening credits sequence, a spoof on James Bond style of films, is witty. But soon, one realizes there’s nothing much happening in the film. Yes, there are a bunch of villains but they are not utilized properly. In fact, after a point, the film stops being funny. A few scenes are interesting here and there like Sukool assassinating Baldev Rana or the way romance blooms between Arjun and Ritu. But these are few and far between. The twist in the tale in pre-climax is something that one can see from miles away. The finale is hardly funny and reeks of lazy writing. <span style="text-decoration: underline;"><strong>Laugh Riot: Diljit &amp; Kriti’s Most Hilarious Rapid Fire | SRK | Hrithik | Kartik | Sara | Deepika | Arjun Patiala</strong></span> <iframe id="jwiframe" class="playerFrame" src="https://www.bollywoodhungama.com/videos/celeb-interviews/laugh-riot-diljit-kritis-most-hilarious-rapid-firesrkhrithikkartiksaradeepikaarjun-patiala/?jwembed=1" width="800" height="340" frameborder="0" allowfullscreen="allowfullscreen"></iframe> Diljit Dosanjh is apt as the cute and naughty police officer. He genuinely plays his part and tries to rise above the script. Varun Sharma (Onida Singh) is likeable although he’s repeating himself now. Kriti Sanon is also sincere and plays the entertaining part well. The sequence where she narrates her tragic part is where she gives her best. Sadly, the makers spoil the show with an animated flashback running below on the screen and it takes away the impact of her performance too. Mohd. Zeeshan Ayyub is the best amongst the villains. He shines and it’s sad that such a cool villain won’t get his due to the bad script. Ronit Roy fits the part to the T. Seema Pahwa is decent. Amit Mehra, Himanshu Kohli and Sumit Gulati get no scope. Biswapati Sarkar (Editor of Tezz News Channel) is appropriate. Ritesh Shah (Arjun’s father) and the actor playing her mother are poor. Sunny Leone (Baby) is sizzling. Pankaj Tripathi and Abhishek Banerjee are the funniest in the film. Sachin-Jigar's music is nothing compared to their previous works. <em>‘Main Deewana Tera’</em> has the chartbuster feel but doesn’t have a long shelf life. <em>‘Crazy Habibi vs Decent Munda’</em> is situational. <em>‘Dil Todeya’</em> and<em> ‘Sachiya Mohabbatan’</em> are okay. <em>‘Sip Sip’</em> is played during the end credits. Ketan Sodha's background score is theatrical. Sudip Sengupta's cinematography is fine. Parijat Poddar and Shekhar Ujjainwal's production design is a bit television show-like. Vikram Dahiya's action is sans any gore. Veena Kapur Ee's costumes are appealing, especially the ones worn by Kriti. Huzefa Lokhandwala's editing is too quick at places. On the whole, ARJUN PATIALA is a shockingly poor fare, riddled with an outdated and tragic script. At the box office, it will be rejected outright by the cinegoers.

The Fast And Furious franchise started way back in 2001. Since then we have seen the franchise evolve from racing to something that includes, heists, spying and of course fast cars. Now two years after the last release in the series THE FATE OF THE FURIOUS hit screens in 2017, we see a spin off feature film in the form of FAST &amp; FURIOUS PRESENTS: HOBBS &amp; SHAW. But will this new action flick woo the Fast and Furious audience or will it like so many other actioners be all glitz and no content is what we analyse. <img class="aligncenter wp-image-1004788 size-full" title="Movie Review Fast &amp; Furious Presents Hobbs &amp; Shaw" src="https://www.bollywoodhungama.com/wp-content/uploads/2019/08/Movie-Review-Fast-Furious-Presents-Hobbs-Shaw.jpg" alt="Movie Review Fast &amp; Furious Presents Hobbs &amp; Shaw" width="720" height="450" /> Starting off, FAST &amp; FURIOUS PRESENTS: HOBBS &amp; SHAW is centred around the titular Luke Hobbs (Dwayne Johnson) and Deckard Shaw (Jason Statham), characters introduced in the main series. The film begins with a crew of MI6 agents attempting to retrieve a virus, Snowflake, which can be programmed to decimate millions of people, from terrorist organization Eteon. Brixton Lore (Idris Elba), an Eteon operative with advanced cybernetic implants, arrives and kills all agents except for their leader, Hattie Shaw (Vanessa Kirby), who injects Snowflake into herself as a dormant carrier and escapes. Brixton frames Hattie as a traitor who killed her team and stole Snowflake, forcing her to go on the run. Luke Hobbs and Deckard Shaw are both informed of the missing virus and are assigned to work together reluctantly to track it down. From here on begins a cat and mouse game to save Hattie and the world while keeping the deadly ‘Snowflake’ out of the wrong hands. Much like the previous FAST &amp; FURIOUS films, this spin off too is an action entertainer that promises edge of the seat stunts, fast cars, and big explosions. While there were initial questions raised whether a spin off on a series like F&amp;F would work and hold the audience’s interest, FAST &amp; FURIOUS PRESENTS: HOBBS &amp; SHAW proves that such films if made well, not only keep the audience in their seats but also provides for a fun filled thrilling watch. Director David Leitch, who has in the past proved his mettle with JOHN WICK (2014), ATOMIC BLONDE (2017) and the more recent release DEADPOOL 2 (2018), has done it again. Thanks to a background as a stuntman with professional martial arts training, Leitch is able to execute and shoot some rather difficult action sequences with precision. Keeping in mind the background of the franchise, Leitch has capitalized on characteristic traits of Hobbs and Shaw to develop seamless fight sequences that are well co-ordinated. As for the story of the film, like most action flicks, this one too features a wafer thin plot. However, it isn’t the plot that is the film’s mainstay; instead it is the eye popping relentless action that is interjected with well-placed humour to break the monotony. Coming to the performances, Dwayne Johnson as Luke Hobbs does what he does best, which is smashing things. Assisting him on this endeavour is Jason Statham as Deckard Shaw who takes the more refined approach as compared to Hobbs’ brute force technique to eliminate targets with finesse. Vanessa Kirby as Hattie Shaw does a commendable job and manages to hold her own despite the fact that the film is centred on the characters of Hobbs and Shaw. However it is Idris Elba as Brixton Lore who steals the limelight. A cybernetic enhanced superhuman hybrid, Brixton is capable of feats that push the boundary. Despite having such power, Elba’s restrain is clearly evident, thus preventing the film from becoming too over the top. The dialogues, though not much are good in places with well time punch lines that deliver. As for the action, well it is a spin off from the FAST AND FURIOUS franchise, so expect tons of it. Though unlike the previous films in the series, this one features fewer high end cars, skimpily clad women and debauchery, but rest assured David Leitch has done well with the action. Adrenaline pumping, edge of the cliff (quite literally) gasoline fuelled explosions that are sure to satiate your hunger for destruction. On the whole, FAST &amp; FURIOUS PRESENTS: HOBBS &amp; SHAW lives up to the FAST &amp; FURIOUS tag, with insane stunts, high octane action, well timed humour and an entertaining rollercoaster ride that keeps you in your seat. At the box office, the film that releases in four languages, English, Hindi, Tamil and Telugu is expected to open well and will see an increase in footfalls over evening and night shows. With little competition at the box office, FAST &amp; FURIOUS PRESENTS: HOBBS &amp; SHAW looks set to dominate the weekend.

A lesser known film, ANTARDWAND, released in 2010 and sank without a trace. But it stood out from rest of the niche films as it was based on the system of groom kidnappings prevalent in Bihar. Now, newcomer director Prashant Singh attempts to make the idea even more popular with his film, JABARIYA JODI. Unlike ANTARDWAND, which was quite a serious fare, JABARIYA JODI attempts to look at it in a light-hearted manner. Moreover, it stars two known actors – Sidharth Malhotra and Parineeti Chopra. So does JABARIYA JODI entertain and comes across as a respite for its lead actors? Or does it fail in its endeavour? Let’s analyse. <img class="aligncenter wp-image-1006550 size-full" title="Movie Review Jabariya Jodi" src="https://www.bollywoodhungama.com/wp-content/uploads/2019/08/Movie-Review-Jabariya-Jodi.jpg" alt="Movie Review Jabariya Jodi" width="750" height="450" /> JABARIYA JODI is the story of two equals, who come from different worlds. In 2005, two kids – Abhay Singh (Aryan Arora) and Babli Yadav (Gurket Kaur) – fall in love in the Madhopur village in Bihar. But Babli’s mother catch them red handed. She and Babli’s father Duniya Lal (Sanjay Mishra) decide to leave Madhopur and shift to Patna. Cut to present day. Abhay Singh (Sidharth Malhotra) is now an adult and works with his father Hukum Dev Singh (Jaaved Jaaferi). Abhay’s job is to kidnap grooms and get their <em>‘jabariya shaadi’</em> done. Abhay, Hukum and the rest of the gang members believe that they are doing social work with these forced marriages. After all, the bride’s father doesn’t have to pay dowry in such type of marriages. While getting one such <em>‘jabariya jodi’</em> done, Abhay bumps into Babli (Parineeti Chopra), who is the friend of the bride Shriya (Kirtika Budden). Both recognize each other and sparks fly. For Babli, the timing is just perfect. She has been dumped by a guy for whom she ran away from her house. Abhay too falls for Babli but he also gets apprehensive about the relationship. Moreover, he has political ambitions – he wants to be an MLA and stand for elections next year. Meanwhile, Duniya Lal finds out that she is in love with Abhay. He detests Abhay, since he is a goon and decides to get her married to the supposedly decent and educated fellow, Pappu (Rashul Tandon). But Pappu’s parents ask for ridiculously high dowry. With no option in hand, Duniya Lal and his close aide Pathak ji (Neeraj Sood) approach Hukum Dev Singh and request for Babli and Pappu’s <em>‘jabariya shaadi’</em>. Babli is told of her marriage but she assumes her father is getting her hitched to Abhay! So she is very glad and happily participating in pre-marriage customs. Abhay meanwhile is sulking as he doesn’t want her to get married to anyone else. At this point, the powerful and well-connected Daddan Yadav (Sharad Kapoor) approaches Hukum Dev Singh. He requests him to let go of the deal he made with Duniya Lal since Pappu is his close relative and that he’s planning Pappu’s wedding somewhere else. In return, Daddan would give Hukum Dev the election ticket from the seat of Gaya. Hukum Dev agrees and he tells Abhay to return the fees given by Duniya Lal at his residence. This is when Babli learns the truth and she is shattered. An angry Babli now decides to do <em>‘jabariya shaadi’</em> with Abhay! What happens next forms the rest of the film. Sanjeev K Jha's story is based on an interesting idea. Many in the country are not aware of <em>‘pakadwa vivah’</em> tradition and the writer succeeds in showing this bit in an entertaining manner. At the same time, he also highlights the downside of such kind of marriages. But the inherent love story is weak and has loose ends. Sanjeev K Jha's screenplay (with additional screenplay by Raaj Shaandilyaa and Neeraj Singh) doesn’t really succeed in hiding these minuses. A few scenes are well written and thought of. Also, the writing has the massy vibe. But one wishes the writer and additional screenwriters had done something about the unconvincing plot points. Raaj Shaandilyaa's dialogues (with additional dialogues by Neeraj Singh) are one of the highpoints. The one-liners are sure to be greeted with claps and hooting. In fact, it’s a rare film where dialogues help in hiding the goofs of the film. In the emotional scenes, the dialogues work big time. Prashant Singh's direction is very good for a debutant. He understands that the story has a pan-India appeal and executes it appropriately. Also, he keeps the audiences hooked from start to finish without boring them, despite the 144 minutes duration. But he doesn’t do much when it comes to unconvincing moments in the movie. The biggest dilemma faced by Abhay Singh in the film is the fear he has that he’ll turn like his father and harass his to-be wife and she’ll suffer the same fate like her mother (Sheeba Chaddha). This is an important point and should have been explained further. Only the childhood portion shows Hukum Dev Singh indulging in adultery and that he’s quite strict. But it’s not enough and the director should have tried to explore the dynamics between Hukum Dev and his wife. Also, he allowed the repetition of some sharp dialogues, due to which the impact is not made. Not just that, Hukum Dev’s change of heart is too sudden and catches viewers unawares. Lastly, the product placement in the film is too in-your-face and it’ll raise laughs. <span style="text-decoration: underline;"><strong>Jabariya Jodi | PUBLIC REVIEW | First Day First Show | Sidharth Malhotra and Parineeti Chopra</strong></span> <iframe id="jwiframe" class="playerFrame" src="https://www.bollywoodhungama.com/videos/first-day-first-show/jabariya-jodi-public-review-first-day-first-show-sidharth-malhotra-and-parineeti-chopra/?jwembed=1" width="800" height="340" frameborder="0" allowfullscreen="allowfullscreen"></iframe> JABARIYA JODI starts off on a sweet note, showcasing the love story between two teenagers. The fun continues once adult Babli enters the story and bashes up her boyfriend for not turning up at the railway station. Abhay’s introduction too is done in a fun manner. The sidekicks and supporting characters are also quite strong and they also add a lot to the film and its humour quotient. The manner in which Babli is completely oblivious that she is getting married to Pappu and not Abhay is hard to digest. Did no one around her ever even take the groom’s name, even as a passing remark? Post-interval portion begins on a promising note as Babli decides to force marry Abhay. The way it’s done is pretty hilarious. But soon, the film drops. Thankfully, the action-packed climax, though weak, works and the film ends on a happy and appropriate note. Sidharth Malhotra is in fine form, also look wise as he suits the part. There’s a scene where Babli’s pals try to kidnap Abhay but get scared the minute they see him. And this bit looks convincing as Sidharth makes Abhay look like someone not to be messed with. But his performance is a bit dry in some scenes. He should have shown a bit more aggression in a few more sequences. Parineeti Chopra does quite better and is just perfect as Babli. In the second half, she gets surprisingly mellow, which seems a bit out of character. But even in this hour, she leaves an impact. The scene where Abhay comes to take away Babli is where she leaves a huge mark. Aparshakti Khurana (Sanku) slips into his part effortlessly. Sanjay Mishra is fair and adds to the humour quotient especially in the scene where he consumes the ‘banned’ alcohol. Chandan Roy Sanyal (Guddu) is apt for the part. Mohit Baghel (Halla) is quite funny and makes his presence felt. Raashul Tandon goes overboard and yet manages to entertain and raise lot of laughs. Jaaved Jaaferi is decent as the strict father. Sheeba Chadha gets a raw deal. Neeraj Sood has a few funny dialogues but one wishes he had a lengthier role. Sharad Kapoor is strictly okay. Gopal Dutt (Inspector Tiwari) is very good in the cameo role. Aryan Arora and Gurket Kaur are sweet as young Abhay and Babli respectively. Elli AvrRam is sizzling in the item song. Music is not great as it doesn’t suit the feel and theme of the film. <em>'Zilla Hilela'</em> is the only track in the film that matches with the film’s setting. <em>'Khadke Glassy'</em> is also nice but comes in the end credit. <em>'Dhoonde Akhiyaan' </em>works because of the picturization. <em>'Khwabfaroshi', 'Ki Honda Pyaar' </em>and <em>'Macchardani' </em>are disappointing. Joel Crasto's background score is dramatic. Bosco Martis' choreography (<em>'Khadke Glassy'</em>) and Adil Shaikh's choreography (<em>'Zilla Hilela'</em>) is good. Vishal Sinha's cinematography is fair, with few scenes capturing the small-town India very well. Rajat Poddar's production design is realistic. Malavika Kashikar, Niharika Jolly and Akshay Tyagi's costumes are stylish. But Parineeti Chopra’s crop tops seem a bit out of place and doesn’t go well considering the film is set in Patna. Vikram Dahiya's action is realistic. Dev Rao Jadhav's editing could have been crisper by a few scenes. On the whole, JABARIYA JODI is a decent entertainer and works because of the novel idea of forced marriages, performances and hilarious and witty dialogues. At the box office, it will do decent business before the Independence Day biggies take over.

Films based on or inspired from true incidents always have an edge, especially if made well. A recent classic example being ARTICLE 15, loosely inspired from Badaun rape case and Una flogging incident, and which became a commercial success. Now Nikkhil Advani attempts to unravel the mystery behind the more-than-a-decade-old Batla House encounter in his flick, also titled BATLA HOUSE. So does BATLA HOUSE give viewers an entertaining and thrilling time? Or does it fail to entice? Let’s analyse. <img class="aligncenter size-full wp-image-1008066" src="https://www.bollywoodhungama.com/wp-content/uploads/2019/08/Batla-House-3.jpg" alt="" width="720" height="450" /> BATLA HOUSE is the story of an upright cop caught in a sticky situation. The year is 2008. The Indian Mujahideen has conducted a series of blasts across the country. Their latest attack is in the capital city, Delhi, on September 13. ACP Sanjay Kumar (John Abraham) is having trouble in his marriage with Nandita (Mrunal Thakur). On September 19, he is informed by his team that the terrorists responsible for this blast are holed up in a flat in L-18, Batla House in the Okhla locality of the city. Before Sanjay could reach the site, his junior officer K K (Ravi Kishan) orders the team to engage with the occupants of the said house. The occupants who are Okhla University students fire at the cops, injuring K K grievously. Sanjay meanwhile reaches and he along with the rest of the police team eliminate the shooters. One of them, Tufail (Alok Pandey) is arrested. Even before the cops could leave, the residents begin raising slogans against the police. Soon, the media and political leaders blame the police for staging a fake encounter. K K on the other hand passes away in hospital. Sanjay meanwhile finds it difficult to prove that he’s right and that these residents of Batla House were indeed a part of Indian Mujahideen. He also informs the police department that there were two more guys in the Batla House flat who escaped, one of which is Dilshaad Ahmed (Sahidur Rehman). He escaped to Nizampur, Uttar Pradesh. Sanjay’s senior Jayvir (Manish Chaudhari) sternly tells Sanjay not to head to Nimzapur to arrest Dilshaad. Yet, Sanjay defies the orders and heads to nab Dilshaad with his team. In Nizampur, he encounters hostile residents and a leader of a political party who tell him to back off. Yet, he goes ahead and attempts to take Dilshaad back to Delhi. The locals on one hand are baying for his blood. On other hand, Jayvir and other senior cops are slamming Sanjay for his irresponsible action. What happens next forms the rest of the film. Ritesh Shah's story is well researched and gripping. Moreover, it’s extremely relevant in today’s times. Many might not be aware of this case and how it led to such a huge controversy at that time. Hence, the novelty factor is also there. Ritesh Shah's screenplay is captivating for most parts but is shaky in the first half. The film should have been simpler yet thrilling and devoid of too much of docudrama feel, for a better impact. However, there’s no doubt that some scenes are exceptionally scripted. Ritesh Shah's dialogues are acidic and sharp. The one-liners in the climax work very well. Nikkhil Advani's direction is simply brilliant. He understands the material he has in his hand and its sensitive nature. He has handled some scenes deftly and shows his brilliance in the interrogation scene in the first half and later in the courtroom sequences. Also, the Rashomon effect works well here to make the audiences wonder as to which version is correct. However, a few scenes in the first half are not up to the mark. Some scenes might even confuse viewers. For instance, it is bewildering why Sanjay switches off the camera during a crucial interrogation. Thankfully, the plusses outweigh the minuses by a huge margin here. BATLA HOUSE’s first half is decent but one misses the overall ‘Wow’ factor here. The reason behind the straining of relations between Sanjay and Nandita is not explained properly. The encounter is only partly shown and hence, one remains confused as to what exactly transpired between the police and the students. Also, Sanjay’s constant hallucination sequences become a little too much after a point. But on the positive side, a few scenes are quite promising. The film picks up in a big way when Sanjay quotes from the Holy Quran while interrogating Tufail. This powerful scene will surely be greeted with claps and whistles and it also proves how vested interests smartly misinterpret religious texts for violent gains. The Nizampur episode is a bit over the top but is quite thrilling. The intermission point also comes at a great moment. Post-interval, the interest levels increase as Sanjay gets determined to nab Dilshaad. The entry of Victoria (Nora Fatehi) adds charm to the film. But the best is reserved for the last 35-40 minutes. The courtroom drama is quite exhilarating and clap worthy. Also, once the entire scenario becomes clear, the film becomes simpler.  As a result, audiences would be even more interested once they know the complete picture. Sanjay’s monologue at this hour ensures the film ends on a high. <span style="text-decoration: underline;"><strong>Batla House Public Review | John Abraham | Mrunal Thakur | Movie Review | First Day First Show</strong></span> <iframe id="jwiframe" class="playerFrame" src="https://www.bollywoodhungama.com/videos/first-day-first-show/batla-house-public-review-john-abraham-mrunal-thakur-movie-review-first-day-first-show/?jwembed=1" width="800" height="340" frameborder="0" allowfullscreen="allowfullscreen"></iframe> BATLA HOUSE belongs to John Abraham, without a shred of doubt. He is not just playing a brave, decorated police officer. He also essays the role of a person who is abused and slammed from all quarters. No one wants to know or believe his version of truth. The trauma he faces is brought out beautifully by John. Also, he’s first-rate as expected in action scenes and also in dramatic and confrontational sequences. Mrunal Thakur is letdown a bit by the script as the back story is never revealed. But she gives a decent performance. In the second half, she impresses even more as the woman who stands up for her husband. Ravi Kishan leaves a huge mark in a small role. Manish Chaudhari is efficient. Rajesh Sharma (Advocate Shailesh Arya) is quite scathing, as per his character’s requirement. Nora Fatehi provides much-needed sizzle in the film. Her character has a small but important role in the film. Alok Pandey and Sahidur Rehman play their respective parts with earnest. Pramod Pathak (Defence counsel P Krishnan) has a late entry but makes an impact. Others also do well. Songs aren’t memorable except for of course <em>'O Saki Saki'</em>. The item song is quite entertaining but it starts off quite suddenly though. <em>'Rula Diya'</em> and <em>'Jaako Rakhe'</em> are okay. John Stewart Eduri's background score is subtle yet adds to the impact.  Adil Shaikh's choreography in <em>'O Saki Saki'</em> is visually great. Soumik Mukherjee's cinematography is topnotch. This is especially in the interior scenes of Batla House flat and in the chase sequence in the small town. Priya Suhas's production design is quite realistic. Amin Khatib's action is thrilling and yet not gory or disturbing at all. Maahir Zaveri's editing is razor sharp in many scenes and also stylish. But this kind of editing also affects the impact in some of the scenes in the first half. On the whole, BATLA HOUSE is a powerful saga which is sure to spark off discussions and debates. The relevant plot, watertight screenplay, clapworthy moments and terrific performance by John Abraham makes BATLA HOUSE one of the finest films of the year. At the box office, it will have a promising run. Recommended!

Just like how Eid is synonymous with a Salman Khan release, the Independence Day holiday isn’t complete without an Akshay Kumar starrer. From 2013 to 2018, he has had a release during this beneficial weekend, barring 2014. 2019 is no exception and this time, he is out with MISSION MANGAL, based on an important chapter of India’s history. The mood of the film is also apt, considering that just last month, the Indian Space Research Organisation (ISRO) launched Chandrayaan-2 towards the moon. MISSION MANGAL has all the trappings of a blockbuster. So does it turn out to be as exciting and entertaining as expected? Or does the content fails to entice? Let’s analyse. <img class="aligncenter size-full wp-image-1008325" src="https://www.bollywoodhungama.com/wp-content/uploads/2019/08/Mission-Mangal-Review-IMG.jpg" alt="" width="750" height="450" /> MISSION MANGAL is the incredible true story behind India’s mission to Mars. The film begins in 2010. At the Indian Space Research Organisation (ISRO), a space mission under Rakesh Dhawan (Akshay Kumar) fails after Tara Shinde (Vidya Balan) in his team makes an error in judgement. As a punishment posting, he’s asked to handle India’s Mars program, which is not expected to take off anytime soon. A few days later, Tara while cooking puris in her home has a Eureka moment. She realises that through innovative methods, they can try to get our satellite reach Mars in just two years. She tells Rakesh about the plan and he realises it’s a golden opportunity. Rakesh approaches his senior (Vikram Gokhale) for approval who finds the idea unfeasible. Also Rupert Desai (Dalip Tahil) who has come from NASA to join ISRO feels that Rakesh's idea is ridiculous. Rakesh however manages to persuade and begins work. He asks for the best of the men from ISRO for this project. However he’s given inexperienced colleagues like Kritika Aggarwal (Taapsee Pannu), Eka Gandhi (Sonakshi Sinha), Varsha Gowda (Nithya Menen), Neha Siddiqui (Kirti Kulhari) and Parmeshwar Naidu (Sharman Joshi) and a very senior employee Ananth Iyer (H G Dattatreya). What happens next forms the rest of the film. Jagan Shakti's story is superb and also very challenging. It’s not easy to pen down a mainstream film with such a plot. Also many are not aware of what transpired behind the making of India’s Mars mission. Hence it’ll be exciting for them to witness the whole journey. Also there are so many twists and turns in the plot that one might not believe that some of the plot points are actually true incidents. R Balki, Jagan Shakti, Nidhi Singh Dharma and Saketh Kondipathi's screenplay not only simplifies the proceedings but also make it massy. The screenplay blends science and entertainment seamlessly. The film’s goings on are extremely easy to comprehend. R Balki, Jagan Shakti, Nidhi Singh Dharma and Saketh Kondipathi's dialogues are effective and funny. Jagan Shakti's direction is terrific for a first timer. He had a winning screenplay in his hand and he takes it to another level with his execution. The film has also has subplots of each of the main characters and even these are very well woven in the narrative. And through these tracks too, the makers have made some important comments about religion, parenting, marriage, religious bias etc. and all these contribute to the film hugely. MISSION MANGAL starts off beautifully showing Tara running a house efficiently on the day ISRO has an important launch. Rakesh's entry and the confrontation scene when he’s offered Mars program is intriguing as well as entertaining. It also makes it clear that the film won’t get serious and that the entertainment quotient will be maintained. The rest of the team is introduced in a quick but interesting montage like sequences and it adds a lot to the film. The first half moves swiftly with no complaints. The second half is longer and the commencing portions are where the film drops. Also to see the team renovating their work station at a time when they are running against time is a bit too much. Thankfully the film soon picks up. The best is obviously reserved for the finale. There are a lot of obstacles faced by the team here and it makes the film even more gripping. The finale is applause worthy. <p class="entry-title name"><strong><span style="text-decoration: underline;">Mission Mangal | Public Review | FDFS | Akshay Kumar | Vidya Balan | Taapsee Pannu | Sharman Joshi</span></strong></p> <iframe id="jwiframe" class="playerFrame" src="https://www.bollywoodhungama.com/videos/first-day-first-show/mission-mangal-public-review-akshay-kumar-vidya-balan-taapsee-nithya-movie-review-first-day-first-show/?jwembed=1" width="800" height="340" frameborder="0" allowfullscreen="allowfullscreen"></iframe> MISSION MANGAL is embellished with some fine performances. Akshay Kumar is in top form. He gets to play such a splendid role and gets into the skin of his character. And he’s very much there throughout the film! The way his character rarely gets serious and makes even serious discussions light and funny is seen to be believed. One of the greatest sequences of the film is when he makes an imaginary call to none other than APJ Abdul Kalam. Vidya Balan dominates most of the first half and suits her character to the T. It’s also admirable that she has no qualms playing mother to teenagers. Sonakshi Sinha is lovely and gets to shine. It’s great to see how she makes an impact in a supporting role. Taapsee Pannu is also quite efficient and gives her best in the climax. Nithya Menen has a smaller role but it serves as a great debut. Kirti Kulhari manages to score and many would be able to relate to her character's struggles. Sharman Joshi is funny and would surely make viewers smile. H G Dattatreya is adorable and the scene where he teaches Kirti's ex hubby a lesson is too good! Dalip Tahil is appropriate as the pessimist. Sanjay Kapoor (Sunil Shinde) is the surprise of the film. He delivers a fine performance and post interval he goes in another mode that would be greeted with whistles in cinemas! Purab Kohli (Vivek) and Mohd. Zeeshan Ayyub (Rishi) lend able support. Rohan Joshi (Dilip Shinde) is hilarious and even heartening as Vidya Balan's son. Kashmira Pardeshi (Anya Shinde) gets no scope. Vikram Gokhale is decent. Others are also good in their respective parts. Amit Trivedi's music is well interspersed with the proceedings. <em>'Dil Mein Mars Hai' </em>is entertaining and catchy. <em>'Shaabaashiyaan'</em> is played at a crucial juncture. Amit Trivedi's background score is engaging. S Ravi Varman's cinematography is quite simple and has the big screen effect. Sandeep Ravade's production design is praiseworthy as it’s straight out of life. Debashish Mishra's sound design is also as real as it gets. Sham Kaushal's action is good in the lone action scene inside the metro. Famulus Media and Entertainment's VFX is top class without which the long climax would not have worked so well. Theia Tekchandaney's costumes are appealing yet not too glamorous. Kirti Kolwankar and Maria Tharakan's costumes for Vidya Balan are authentic. Chandan Arora's editing is just perfect as the film neither moves too fast nor drags. On the whole, MISSION MANGAL is engaging and entertaining while being patriotic in its feel. At the box office, it will be accepted whole heartedly by the audiences and has the potential to emerge as Akshay Kumar's highest grosser ever!

Sometimes, one film is enough to turn an actor into a nationwide star. BAAHUBALI - THE BEGINNING was one such film. It made Prabhas from a regional star to a pan-India sensation and it’s sequel BAAHUBALI 2 - THE CONCLUSION cemented his position as a superstar. Almost 2 ½ years later, this macho actor is now back with SAAHO. While BAAHUBALI was a period drama, SAAHO is a modern-day actioner with a bit of a futuristic setup. The hype is tremendous from East to West, North to South. So does SAAHO live up to all the excitement? Or does it disappoint viewers? Let’s analyse. <img class="aligncenter size-full wp-image-1013048" src="https://www.bollywoodhungama.com/wp-content/uploads/2019/08/Saaho-Aug.jpg" alt="" width="720" height="450" /> SAAHO is the story of a mysterious man on a mission. The foreign city of Waaji is ruled by gangsters and criminals and the biggest of them is Roy (Jackie Shroff). He cleverly manages to get the approval of an Indian minister, Ramaswamy (Tanikella Bharani) for a hydro project in India. He then reaches Mumbai and this is where he’s killed in a road accident. His son Vishwank (Arun Vijay) then takes over, which angers Devraj (Chunky Panday) as he wants to sit on Roy’s throne. Meanwhile the Mumbai crime branch is investigating the death of Roy and other related crimes. The case is handed over to Ashok Chakravarthy (Prabhas), a macho and extremely intelligent officer. He insists that Amritha Nair (Shraddha Kapoor) is also made a part of his team after he gets smitten by her photograph. While scanning the CCTV footage, they come across a mysterious person (Neil Nitin Mukesh) who they believe is a suspect. In the absence of evidence though, he can’t be arrested. Ashok however manages to speak to him and finds out that he’s hunting for a black box which can be used to access the wealth left by Roy in Waaji. Not just this chap but even Vishwank is trying to find the black box, which is hidden in Mumbai. He sends his associate Kalki (Mandira Bedi) who for some reason secures the box but instead of taking it to Waaji, she deposits it in a bank. When the mysterious person comes to get it, the cops who are already on his trial arrest him. However, the cops get a shock of their lives at this point when they realize they have a mole in their team. The mole runs away with the black box and this baffles not just the police force but also the gangsters of Waaji. What happens next forms the rest of the film. Sujeeth's story is strictly okay but it could have been made for an exciting actioner if the screenplay and direction were upto the mark. Sujeeth's screenplay however spoils the show. Till the first half, it is captivating but then the screenplay is all over the place in the post-interval portions. There are so many villains and moreover, there are so many people double-crossing that it gets confusing for viewers to remember the twists. Abbas Dalal and Hussain Dalal's dialogues are simple but a few one-liners are powerful. Sujeeth's direction is quite weak and it is one of the big reasons why this film fails. A film like SAAHO, mounted on such a huge scale, required the execution by an expert and experienced filmmaker. Sujeeth sadly fails to do justice. The plot is weak but still, the film could have been saved with the execution. Sujeeth fails to do so overall. On the positive side, a few scenes are handled very well. These are mainly in the first half like the entry scenes of Vishwank and Ashok, Devraj threatening his father Prithviraj and of course, the interval point. In the second half, he does very well in a brief part of the climax where three scenes are running parallel - one of Ashok, one of Amrutha and one of Kalki. If he had wisely directed the rest of the film, SAAHO would have been on another level. SAAHO has an average beginning. Too much information is laid out and it takes a while to process it all. The film gets a bit better with Ashok’s entry. The investigation carried out by Ashok and his team is quite engaging. Also, the politics played out in Waaji amongst the warring factions makes for a nice watch. The best is however reserved for the pre-interval. The sequence where Kalki’s car gets attacked is good. The intermission point comes as a jolt. A part of it is predictable but there are too many twists here and hence, it works since viewers won’t be able to guess all the unexpected developments. Post-interval, one expects the film to go on another level but sadly the opposite happens. There is too much chaos, visually and otherwise, and the film ceases to make sense. Yes, the action scenes are spectacular but after a point, the audiences get tired of the overdose. There are more twists in the climax but this time, the viewers don’t get very impressed. <span style="text-decoration: underline;"><strong>Saaho | Public Review | FDFS | Shraddha Kapoor | Prabhas</strong></span> <iframe id="jwiframe" class="playerFrame" src="https://www.bollywoodhungama.com/videos/first-day-first-show/saaho-public-review-fdfs-shraddha-kapoor-prabhas/?jwembed=1" width="800" height="340" frameborder="0" allowfullscreen="allowfullscreen"></iframe> Talking of performances, Prabhas puts up a great show. As per his character, he performs well and would be loved by the masses. His dialogue delivery in Hindi however is a bit weak. Moreover, his character sketch is also a bit flawed – throughout the film, his character is always winning and ahead of his enemies. Initially, it works but then it becomes unconvincing. Shraddha Kapoor is quite lovely and suits the part of the no-nonsense officer very well. She is great in action scenes. Jackie Shroff makes a huge impact in his cameo. Neil Nitin Mukesh is dependable and looks quite dashing. Chunky Panday steps into the villain zone once again after BEGUM JAAN and is appropriate. Arun Vijay oozes fear very well and is apt for the part. Murali Sharma (David) has a crucial part and is decent. Mandira Bedi gives a memorable performance. Tinnu Anand doesn’t mouth a single dialogue and yet delivers a fine performance. Mahesh Manjrekar (Prince), Prakash Belawadi (Shinde) and Goswamy (Venella Kishore) are okay. Evelyn Sharma (Aisha) suits her part but her character doesn’t have much to do. Jacqueline Fernandez is sizzling in the special song. Music is average. <em>'Psycho Saiyaan'</em> (changed to <em>'Kaiko Saiyaan'</em>) is the best song of the lot and well shot and choreographed. <em>'Enni Soni'</em> and <em>'Baby Won't You Tell Me'</em> are forced in the narrative. <em>'Bad Boy'</em> is visually quite stunning. Ghibran's background score is a bit loud. In a few places, it overpowers the dialogues. Raju Sundaram and Vaibhavi Merchant's choreography is first-rate. Madhie's cinematography is captivating. A few scenes are captured upside down and make for a great watch. The lensman has also captured Mumbai’s birds-eye view beautifully. Kenny Bates, Peng Zhang, Bob Brown, Stefan Richter, Dhilip Shubbarayan, Ram Lakshman, Stunt Silva, Parvez Shaikh and Stunt Jashwa's action is excellent when seen individually. But in the film, a few of them seem needless. A few scenes that work well are Mumbai traffic scuffle (by Stunt Silva), Prabhas’s entry (by Peng Zhang) and chase sequence in pre-climax (by Kenny Bates). Sabu Cyril's production design is ambitious and larger-than-life, especially the Waaji city portions. But it doesn’t seem authentic. R C Kamalakannan's VFX could have helped in making it look real but it fails at places. Thota Vijay Shankar and Leepakshi Ellawadi's costumes are appealing, especially the ones worn by Prabhas, Shraddha Kapoor and Jacqueline Fernandez in the songs. A Sreekar Prasad's editing adds to the chaos and could have been simpler. On the whole, SAAHO suffers from a lackadaisical script and a vacuous screenplay. At the box-office, it is bound to have a huge start and a good extended weekend due to tremendous hype and the fan following of the lead cast but will face obstacles post the weekend.

For most adults, the years spent in college are often considered to be the best part of their lives. It’s a time when the fear of the uncertain future always looms over the head but the joy of being with friends makes this period worth it. Nitesh Tiwari, after delivering the monstrous blockbuster DANGAL [2016], is back with CHHICHHORE, which focuses not on just the student part of the character’s lives but also on what happens when they have a reunion a couple of decades later. So does CHHICHHORE manage to give viewers an entertaining time and make them go down memory lane? Or does it fail to stir up any emotions whatsoever? Let’s analyse. <img class="aligncenter size-full wp-image-1014857" src="https://www.bollywoodhungama.com/wp-content/uploads/2019/09/Movie-Review-Chhichhore.jpg" alt="Movie Review Chhichhore" width="720" height="450" /> CHHICHHORE is the story of ‘loser’ friends trying to become winners and learning some important lessons on the way. Annirudh Pathak aka Anni (Sushant Singh Rajput) is a middle-aged man residing in Mumbai with his son Raghav (Mohammad Samad) after divorcing his wife Maya (Shraddha Kapoor). Raghav is under immense pressure as he has just given the entrance exams for engineering. Both his parents were rankers when they gave the entrance examination. As a result, Raghav is feeling the pressure tremendously. Anni however is confident that he’ll make it. Finally, the result is out and sadly, Raghav fails to make the cut. Scared that he’ll be labelled a loser all his life, he attempts to commit suicide by jumping from a high rise. He survives but the doctor treating him, Dr Kasbekar (Shishir Sharma) makes it clear that the chances of him recovering are slim. Anni is obviously heartbroken and with no option in hand, he decides to adopt a novel method to ensure that Raghav gets the will to live. He starts narrating him his story as an engineering student in Mumbai’s National College of Technology. He’s allotted a room in Hostel no 4 aka H4, considered to be the residence of the ‘Losers’. At first, Anni is flabbergasted with the kind of characters in H4. But slowly, he becomes good friends with some of them like Gurmeet Singh Dhillon aka Sexa (Varun Sharma), Acid (Navin Polishetty), Sundar aka Mummy (Tushar Pandey), Bevda (Saharsh Kumar Shukla) and Derek (Tahir Raj Bhasin). The number of girls in engineering is negligible and the most popular among them is Maya (Shraddha Kapoor). Anni manages to woo her and they soon start dating. However, Anni and others are still called ‘Losers’ and there’s a reason for it. The General Championship aka GC is a sports tournament that takes place annually in the college. The students of H4 always lose miserably and are the last among the ten hostels. Hence, the ‘Loser’ tag. Raggie (Prateik Babbar) from H3 is a champion who wants all the winning students from other hostels to be in his hostel so that H3 can win the GC. He invites Anni, since the latter is a basketball champion. But Anni refuses, thereby earning the wrath of Raggie. Anni and others from H4 decide to shed the tag of ‘Loser’ once and for all by winning the H4. However, the road to the trophy is full of hurdles. Cut to present-day. Raghav’s condition stops deteriorating after listening to the story of the ‘Losers’ but there’s no improvement either. What happens next, in the flashback as well as in the present day, forms the rest of the film. Nitesh Tiwari, Piyush Gupta and Nikhil Mehrotra's story is entertaining, moving and has potential. The film is more than what the promos indicate. Nitesh Tiwari, Piyush Gupta and Nikhil Mehrotra's screenplay doesn’t exploit the story to its full potential however. Sure they try their best and keep the narrative simplistic without complicating it. They also add humour in adequate doses to appeal to the masses. But it also is a bit superficial especially when it comes to the emotions part. A little more depth in terms of characters, their background etc. was required. Nitesh Tiwari, Piyush Gupta and Nikhil Mehrotra's dialogues are simple but funny and well-worded. One however wishes the writers had written some extremely funny liners for the slogan sequence. This is a scene that could have caused a riot but the end result is decent not extraordinary. Nitesh Tiwari's direction is appropriate for most parts. He deserves praise for the way he goes back and forth with the present day and flashback scenes. Also, in the climax, three scenes are running parallel – one of the chess tournament, one of the relay and one of the basketball match. He merges them very well. On the flipside, he skips some of the details with regards to the characters’ lives and that hampers the impact. For instance, viewers never come to know properly what exactly went wrong between Anni and Maya that they had to divorce and why didn’t Maya take the custody of Raghav. Except Sexa and Mummy, none of the students’ parents are ever shown. As a result, we don’t know what kind of families they hail from. Not just that, even in present-day portions, except for Mummy and Sexa to an extent, the other characters’ lives are not explored at all. Mummy apparently flies from USA to be with Anni. How did he manage to do so that too immediately remains a question mark. Then there are scenes that are unconvincing like Raghav attentively listening to the story of the ‘Losers’ but at the same time, we are told that he is critical. Even when his health deteriorates in the pre-climax, he doesn’t look medically serious. The ‘Losers’ or Raggie are never really shown studying and we never come to know how they are faring in the exams. It seems like the reason they have taken admission in the college is simply to win the GC. CHHICHHORE begins on a high note, which nicely depicts the kind of mischief happening in hostels as well as the enmity between H3 and H4. The movie then focuses on Raghav getting tensed over his result. The film drops a bit here but the shocking suicide sequence ups the interest. Soon the flashback portions commence and the interest in the film gets maintained. From here, the film is sans complaints as director Nitesh Tiwari uses the first hour to introduce the characters, the college setting and how much GC means to the students. In the second half, the college portions manage to entertain and even raise laughs. Anni’s idea of demotivating the rival teams psychologically is interesting and makes for fun watch. However, it also raises questions since the method is deemed to be too effective in even improving their game, which was very poor in the first place. How that happens is bewildering. The climax is based on an interesting idea of three tracks running simultaneously but goes on for too long. The basketball scenes especially go on and on. The end result of the GC might divide audiences with some not finding it acceptable. However, it is in sync with the film’s message. <span style="text-decoration: underline;"><strong>Chhichhore | Public Review | FDFS | Sushant Singh Rajput | Shraddha Kapoor</strong></span> <iframe id="jwiframe" class="playerFrame" src="https://www.bollywoodhungama.com/videos/first-day-first-show/chhichhore-public-review-fdfs-sushant-singh-rajput-shraddha-kapoor/?jwembed=1" width="800" height="340" frameborder="0" allowfullscreen="allowfullscreen"></iframe> Performances are exemplary by all. It’s great to see that not just the lead actor and actress but the others also get a big chance to shine. Sushant Singh Rajput plays the part with ease and is apt as Anni. He’s not playing the typical ‘hero’ as such and slips into the character and performs accordingly. In the older portions, he’s quite good and has modulated his voice a bit which is praiseworthy. Shraddha Kapoor lends able support. Her character sadly doesn’t have much to do after a point. The romantic track is very weak and doesn’t even get sufficient screen time. And she doesn’t look that old as compared to others. Varun Sharma is quite entertaining and will be loved by audiences. He was dull in films like ARJUN PATIALA and KHANDAANI SHAFAKHANA. But in CHHICHHORE, he seems to be in form. He also surprises in the entry scene of the older Sexa. Tahir Raj Bhasin looks dashing and performs very well. The pain and anger in his eyes comes out very well. Naveen Polishetty has a good screen presence and is lovely as the guy with the acidic tongue. Tushar Pandey is fine for the character he plays and adds humor to the proceedings. Saharsh Kumar Shukla has a very late entry but has a brilliant screen presence. In the finale especially, he has a major part to play. Mohammad Samad has his moments. Prateik Babbar leaves a mark as the baddie. Shishir Sharma, Sanjay Goradia (Mummy’s father), Rohit Chauhan (Chris Cross), Ranjan Raj (the underweight Abhimanyu Rathod aka Danda) and the actor playing the cook are fine. Pritam's music is in sync with the film’s mood but won’t have a long shelf life. <em>'Fikar Not'</em> is the best of the lot as it also reflects the film’s message. <em>'Control'</em> comes next as the situation during which it’s played is funny. <em>'Woh Din'</em> and <em>'Khairyat'</em> fail to make a mark while <em>'Kal Ki Hi Baat Hai'</em> is played just for a few seconds. Sameer Uddin's background score is subtle but makes an impact. Amalendu Chaudhary's cinematography is appropriate. The hospital, hostel and sports scenes are well captured. Laxmi Keluskar's production design is good. Mukesh Chhabra's casting deserves praise as all actors fit the bill. The casting of Abhimanyu Rathod is quite nice. Sunil Rodrigues's action is not too gory obviously and works. Rohit Chaturvedi's costumes are authentic. The characters are even shown repeating their clothes in hostel scenes to keep the realism. Preetisheel Singh's prosthetics and character design is overall quite good. But in case of Shraddha Kapoor and Tushar Pandey, it’s not very convincing. Charu Shree Roy's editing is slick and the present-day and flashback portions are well woven in the narrative. On the whole, CHHICHHORE is a decent entertainer that has its share of entertaining and touching scenes. At the box office, it will be liked by its target audience – the youth and the families. However it will require a positive word of mouth to sustain and excel.

The #MeToo movement took off in a big way in 2017 in Hollywood after well-known producer Harvey Weinstein’s sexual harassment episodes became public. It reached India a year later and became a huge social movement. Although the movement made people aware of some genuine cases, it also came to light that some of the allegations were false or were made with ulterior motives. The latest film SECTION 375 is inspired from cases of this nature and expects to make a hard-hitting point. So does SECTION 375 manage to succeed in its endeavour? Or does it fail to impress? Let’s analyse. <img class="aligncenter size-full wp-image-1016957" src="https://www.bollywoodhungama.com/wp-content/uploads/2019/09/Movie-Review-Section-375-IMG.jpg" alt="Movie Review Section 375 IMG" width="720" height="405" /> SECTION 375 is the story of a filmmaker accused of rape. Anjali Dangle (Meera Chopra) is a junior costume designer on a film set. She’s told to go to director Rohan Khurana’s (Rahul Bhat) residence to show him the costumes. When she reaches the house, Rohan and the house maid are present. Rohan sends the maid out of the house on some pretext and then forces himself on Anjali. Anjali reaches her house and tells her family that Rohan raped her. The same evening, Rohan is arrested from his film set. The Sessions Court finds Rohan guilty and sentences him to ten years of rigorous imprisonment. Rohan’s wife Kainaaz (Shriswara) approaches famous criminal lawyer Tarun Saluja (Akshaye Khanna) to file the case in the Bombay High Court. Tarun goes through Rohan’s file and realizes that the Sessions Court verdict was unfair. The case gets accepted in the High Court and the trial begins. Tarun’s ex-protégé Hiral Gandhi (Richa Chadha) is the public prosecutor and Anjali’s lawyer. As the case begins, a lot of unknown and intentionally hidden details tumble out. What seemed like an open and shut case of rape turns out to be murkier than expected. What happens next forms the rest of the story. Manish Gupta's story has tremendous potential and is the need of the hour. It is also quite relevant in today’s times. Manish Gupta's screenplay (with additional screenplay by Ajay Bahl) is quite effective for most parts. The film gets a bit technical but will be easy to comprehend for its target multiplex audience. Manish Gupta's dialogues (with additional dialogues by Ajay Bahl) are quite acidic and sharp. However, at places, there are far too many English dialogues. Ajay Bahl's direction is quite apt. He captivates the viewers with his storytelling and doesn’t lose their attention even once in the 120 minute duration. Also, he presents both sides quite nicely and convincingly. This is a courtroom drama but like conventional Bollywood films in this genre, the film is not made in a dramatic fashion. Yes, a lot is happening in the film but it is all done a bit more realistically. On the flipside, the second half is where the film drops a bit. One expects a film with so many unpredictable moments to end with a bang. Sadly, that doesn’t happen. Also, it’s bewildering why Hiral, who used to shout ‘Objection’ each time Tarun would present anything or make an attention grabbing statement, doesn’t react at all when Tarun explains to the court how Anjali got the injury marks on her inner thighs. Except for Tarun, the private lives of Hiral and Anjali are never shown and it takes away the impact to an extent. SECTION 375 begins on a fine note. Tarun Saluja explaining the concept of justice and law by giving the instance of the 2012 Nirbhaya gang rape case makes for a strong point and it also indicates what is to follow. The scene where Anjali meets Rohan in his house and the alleged rape happens is quite smartly executed and only a part of it is shown to keep the unpredictably going. This is followed by probably the most gut wrenching scene of the film – the medical officer asking the gory details of rape to Anjali quite nonchalantly, in front of her mother. And also, the said medical officer is a male! The film obviously goes on a high once the trial begins. The manner in which it comes to light that the investigating police officer Milind Kasle (Shrikant Yadav) did an extremely shoddy job is bound to shock viewers. Post-interval, the interest is maintained as many more details pour out in the courtroom. The finale however lacks punch. Also, the verdict announced in the end might leave viewers divided. <span style="text-decoration: underline;"><strong>“Aamir Khan Will Make a Good Politician”: Akshaye Khanna | Rapid Fire | Section 375</strong></span> <iframe id="jwiframe" class="playerFrame" src="https://www.bollywoodhungama.com/videos/celeb-interviews/aamir-khan-will-make-a-good-politician-akshaye-khanna-rapid-fire-section-375/?jwembed=1" width="800" height="340" frameborder="0" allowfullscreen="allowfullscreen"></iframe> Akshaye Khanna takes the cake when it comes to performances. Other actors also do well but Akshaye leaves a very strong impact. Whether it’s his dialogue delivery or his interrogating style in the court or his shrewd smile when confronted by the judges or Hiral, Akshaye’s performance is spot-on. Richa Chadha is very good as the no-nonsense lawyer whose idea of justice differs from that of Akshaye’s character. One of her heartening scenes is when Hiral is discussing about her partner and sharing her meal with her ‘rival’ Tarun. Rahul Bhat gets into the skin of his character. He’s too good in the beginning scene when he comes on the set and blasts everyone. Meera Chopra has very few dialogues initially but in the second half, she has a crucial part and does well. Krutika Desai (Justice Bhaskar) is good while Kishore Kadam (Justice Madgaonkar) is very impressive in his part. The latter also contributes to the laughter quotient. Shriswara speaks a lot through her silences and makes her presence felt. Shrikant Yadav is too good. His less-than-a-minute-conversation with Richa after he messes up in the court is memorable. Same goes Dibyendu Bhattacharya – his performance takes one of the most important scenes to another level. Sandhya Mridul (Shilpa) is lovely in the special appearance. SECTION 375 is a songless film. Clinton Cerejo's background score however is subtle and dramatic. Sudhir K Chaudhary's cinematography is quite appropriate. The alleged rape sequence is shot well in different angles and the perspective changes with each angle. And he also makes use of some hand-held, zoomed-in shots that also helps with the impact. Nilesh Wagh's production design is decent. Ameira Punvani's costumes are realistic. Praveen Angre's editing is crisp. On the whole, SECTION 375 is a hard-hitting courtroom drama that raises some important points. At the box office, it has the potential to grow significantly in multiplexes once the word of mouth spreads among its target audience.

Over the years, Ayushmann Khurrana has become nothing short of a brand. He attained success with quirky and urban comedies. Last year, he surprised as he switched gears with ANDHADHUN, a thriller black comedy and earlier this year with ARTICLE 15, a no-nonsense crime drama. Now this talented actor will be seen in DREAM GIRL, a thorough commercial fare, his first ever. The trailers and songs have done the trick and the film is carrying a lot of expectations. So does DREAM GIRL turn out to be a well-made entertainer? Or does it fail? Let’s analyse. <img class="aligncenter size-full wp-image-1017184" src="https://www.bollywoodhungama.com/wp-content/uploads/2018/11/Dream-Girl-2.jpg" alt="" width="720" height="450" /> DREAM GIRL is the story of a man masquerading as a woman to earn his living. Karamvir aka Karm (Ayushmann Khurrana) is an unemployed youth in Mathura who is desperately looking for a job. His father Jagjeet (Annu Kapoor) runs a shop that sells funeral items and has taken a huge loan. The recovery agents have been harassing him over unpaid dues. Karm is known locally for playing female roles in plays and Jagjeet detests this side of Karm. One day while returning home from an unsatisfactory job interview, Karm comes across an advertisement for a call centre job. Karm reaches the venue and is surprised to know that it’s a Friendship club involving women calling men and talking seductively with them. The owner of this place, W Ji (Rajesh Sharma) however hires Karm when he realises that Karm can talk like a women very convincingly. Karm gets the job and he turns into Pooja. Karm does so well in his work that W Ji pays him handsomely and even gifts him a car. Meanwhile Karm falls in love with Mahi (Nushrat Bharucha) and both get engaged. Once Karm repays the loan of his father and gets settled in life, he realises he no longer wants to be Pooja. But W threatens Karm that he’ll tell his father, Mahi and everybody in the neighborhood about how he seduces men daily by assuming Pooja’s identity. Karm hence continues his work. He also realises that he is in for a bigger problem as four of his customers – Mahendar (Abhishek Banerjee), coincidentally his to be brother in law, a hot headed teenager Toto (Raj Bhansali), a cop-cum-<em>shayar</em> Rajpal (Vijay Raaz) and a man-hating journalist Roma (Nidhi Bisht) are crazily in love with him or should we say with Pooja. If this is not enough, Karm's father Jagjeet too starts talking to Pooja and wants to marry her. What happens next forms the rest of the film. Nirmaan D Singh and Raaj Shaandilyaa's story is excellent and it has a very wide appeal. It is reminiscent of the 90s David Dhawan, Govinda comedies. Hence there’s also a nostalgia value attached to the plot. Incidentally the manner in which Karm hides his real profession from his near and dear ones gives one a déjà vu of Ayushmann Khurrana's debut flick VICKY DONOR (2012). Nirmaan D Singh and Raaj Shaandilyaa's screenplay is terrific as the writing packs in so much in 132 minutes. Often, great idea goes kaput at the screenplay level. In case of DREAM GIRL, the screenplay enhances the winning plot. Raaj Shaandilyaa's dialogues further add to the fun and madness. The one liners are so smart and naughty that viewers will be amazed with the writer’s wittiness. Raaj Shaandilyaa's direction is superb, especially considering that it is his first film. He handles the man-talking-in-woman's-voice bit very nicely. He also has a bit of an experience since he has scripted Kapil Sharma's show which involves drag acts for laughter. But in this case, Raaj is not only writing but also executing the content and in all departments, he shines. It’s a bit slow in the beginning of the second half and some of the references to religion might not be liked by a few. But these are minor cons. What’s also praiseworthy is that he makes an important comment about loneliness in the society that drives so many men (and women) to resort to a Pooja. <span style="text-decoration: underline;">Nushrat Bharucha: “Ayushmann is Very SMART Person But He Is…”| Kartik Aaryan | Dream Girl</span> <iframe id="jwiframe" class="playerFrame" src="https://www.bollywoodhungama.com/videos/celeb-interviews/nushrat-bharucha-ayushmann-is-very-smart-person-but-he-is-kartik-aaryan-dream-girl/?jwembed=1" width="800" height="340" frameborder="0" allowfullscreen="allowfullscreen"></iframe> DREAM GIRL begins with a bang and makes it clear that it is laced with some smart writing and smooth direction. Not much time is wasted and in no time, Karm turns into Pooja and begins the seductive game on call. The romantic track is not that exciting but has its moments and keeps the interest going. The intermission point is a big surprise. Post interval the film drops initially. But it goes on a high when Jagjeet goes crazy over Pooja and goes to insane lengths. This bit is going to bring the house down! The climax is a bit serious but works well. DREAM GIRL is embellished with some fine performances and Ayushmann Khurrana shines the most. This is his most massy role yet and he hasn’t done such a part before. But he slips into his character effortlessly. He also sheds his inhibition beautifully. To see him emoting and dancing like a woman while talking like Pooja is a joy to witness on screen. DREAM GIRL will go a long way in getting mass acceptance for Ayushmann. Nushrat Bharucha has lesser screen time but makes her presence felt. Annu Kapoor raises maximum laughs among all the lovers of Pooja. Initially he doesn’t make an impact but in the second half, he’s a riot. Vijay Raaz comes next. His part is adorable and is sure to chuckle audiences with his <em>shayaris</em> and comic timing. Nidhi Bisht is apt for the part and she also has a unique background score reserved for her. Raj Bhansali is effective. Manjot Singh (Smiley) is too good as the sidekick. Abhishek Banerjee gets a bit overpowered by so many actors around but is good nevertheless. Neha Saraf (Chandrakanta) makes an impact as Vijay Raaz's wife. Neela Mulherkar (Mahi's grandmother) is very funny. Rajesh Sharma is as good. Meet Bros' music is foot tapping and suits the narrative. <em>'Radhe Radhe'</em> is grand and makes for a great watch. <em>'Dil Ka Telephone' </em>is the best of the lot and very well placed. <em>'Ik Mulaqaat' </em>looks a bit forced but is soulful. <em>'Gat Gat' </em>is played in the end credits. <em>'Dhagala Lagali'</em> is missing in the film. Abhishek Arora's background score has the massy feel. Aseem Mishra's cinematography is decent. Rajat Poddar's production design is a bit daily soap like but doesn’t affect the impact. Niharika Bhasin's costumes are appealing and realistic. Hemal Kothari's editing is just right. On the whole, DREAM GIRL is a laugh-a-minute-riot that fulfills all the expectations. At the box office, it has the chances of scoring big time with its target audience and is likely to enter the 100 crore club.

Last month, during the promotions of his flick MISSION MANGAL, Akshay Kumar made a startling revelation. He said that he believes that success depends on 70% luck and 30% hard work. His statement surprised many but the fact is that many around the world of different nationalists, communities and even class believe a lot in luck and the concept of lucky charm. No wonder, the business of numerologists and astrologists is thriving. Anuja Chauhan’s novel ‘The Zoya Factor’ tackles this idea and it was written so well that it became a bestseller. The rights were soon picked by Shah Rukh Khan’s Red Chillies Entertainment but the production house failed to make the film within the stipulated period. Aarrti Shetty and Pooja Shetty Deora then bagged the rights and turned the novel into celluloid, while keeping the title of the film the same as the book. So does THE ZOYA FACTOR turn out to be as entertaining as the novel? Or does it fail to impress? Let’s analyse. <img class="aligncenter wp-image-1020460 size-full" title="Movie Review The Zoya Factor" src="https://www.bollywoodhungama.com/wp-content/uploads/2019/09/Movie-Review-The-Zoya-Factor.jpg" alt="Movie Review The Zoya Factor" width="750" height="450" /> THE ZOYA FACTOR is the story of a girl who considers herself unlucky but is the lucky charm for the country. Zoya Solanki (Sonam K Ahuja) is born on June 25, 1983, the day India won the 1983 Cricket World Cup final. Her father Vijayandra Singh Solanki (Sanjay Kapoor) declares that she’ll prove beneficial for the cricket team, having born on such an auspicious occasion. While growing up, Zoya indeed turns out to be a lucky charm for Vijayandra and her brother Zorawar (Sikandar Kher) when they used to play Gully Cricket. As an adult, Zoya however considers herself unlucky. The madness that her family members have for cricket makes her dislike the sport. She works as junior copywriter at an ad agency called AWB and is constantly making mistakes, much to the annoyance of her boss Monita (Koel Purie). Monita sends Zoya on ad campaign comprising of the Indian cricket team in Sri Lanka and warns not to make an error in what she calls a small, simple shoot. Zoya reaches Sri Lanka and becomes friends with Nikhil Khoda (Dulquer Salmaan), the captain of the Indian team. This is a time when the players have lost back to back matches. The World Cup is just a month away and the pressure is killing them. On the day of their match in Sri Lanka, Nikhil invites Zoya to have breakfast with the players. Here, Zoya casually mentions about her date of birth and lucky charm bit. On that day, India miraculously wins the match. The players realise that she is indeed a lucky charm. They make flimsy pretext to stop her from going back to India and try to get her to have breakfast with them for the next match. As expected, they win again. Nikhil however doesn’t believe in luck and The Zoya Factor and feels that it’s hard work that works. Yet he can’t help but fall for Zoya who too is in love with him. Meanwhile, the Indian Cricket Board's Jogpal Lohia (Manu Rishi Chadha) comes to know about Zoya. He approaches her with an offer – dine with the boys in blue before every World Cup match and get paid Rs 1 crore! Zoya however refuses the offer. Jogpal realises that they need Zoya anyhow and hence, they hand over the World Cup campaign to AWB with instructions that Zoya should be leading it. Jogpal is also aided in this plan by his nephew Robin (Angad Bedi) who is also in the team and is Nikhil's rival. He wants to see Nikhil being removed from captaincy and he uses Zoya for his ulterior motive. What happens next forms the rest of the film. THE ZOYA FACTOR is based on the novel by the same name by Anuja Chauhan. The story has a lot of promise and is also relatable. A lot of people believe in luck as well as are cricket fans and hence in a country like ours, such a story can connect with the viewers. Pradhuman Singh Mall and Neha Sharma's screenplay (with additional screenplay by Anuja Chauhan) is effective for most parts. They don’t make the film too emotional even at a single point. The idea is to keep the film light and entertaining from start to finish. In a way, it’s great but at the same time, the film misses the emotional touch. Pradhuman Singh Mall and Anuja Chauhan's dialogues are very witty and contribute a lot to the laughter. The dialogues mouthed by the commentator are sure to be loved by audiences. <span style="text-decoration: underline;"><strong>The Zoya Factor Public Review | Sonam Kapoor Ahuja | Dulquer Salmaan | Abhishek Sharma | FDFS</strong></span> <iframe id="jwiframe" class="playerFrame" src="https://www.bollywoodhungama.com/videos/first-day-first-show/the-zoya-factor-public-review-sonam-k-ahuja-dulquer-salmaan-abhishek-sharma-fdfs/?jwembed=1" width="800" height="340" frameborder="0" allowfullscreen="allowfullscreen"></iframe> Abhishek Sharma's direction is decent. He has handled some scenes with élan but there were also scenes where he really rushed through the proceedings. But the creativity of his execution comes through in several sequences. The scene where it rains is one such sequence – the focus is on Nikhil returning to the pavilion while Zoya could be seen on the giant screen in the foreground. Also, he has used subtle hints to show that the film is set 9 or 10 years back. This is evident through the use of old mobile phones. The idea to not base THE ZOYA FACTOR in 2018 or 2019 makes sense as Zoya’s age is supposed to be not more than 26 or 27. Moreover, the product placements can be an eyesore in most films but here, it’s like an integral part of the film. The Cadbury Silk TVC, for example, is well woven into the narrative. THE ZOYA FACTOR has a very impressive commencement that gives an idea about the cricket and luck elements of the film. Shah Rukh Khan’s witty narration and the animated sequence adds to the fun. The initial scenes of Zoya are okay but the film gets better once she reaches Sri Lanka and interacts with the Indian team. The romantic track also has its moments. Two scenes stand out here – Zoya’s interaction with Nikhil in the elevator and Nikhil meeting Zoya’s family and family friends. Post-interval, the film slips a bit. Also, the film seems too quick at places. The World Cup sequence in the pre-climax and climax however revives the interest. The performances are great by all actors. Sonam K Ahuja suits the part to the T. One can’t imagine anyone else for this role and she does total justice, whether in the scenes of her being love struck or acting pricey or even acting mature and giving out some important lessons to Nikhil in times of need. Dulquer Salmaan is super-dashing but he also gets his act right. He’s totally into his character and convincingly seems the captain of the team. Angad Bedi gets a great part and also screen space and is fine as the baddie. Sikander Kher is the surprise of the film. His role might remind one of Prateik’s character in JAANE TU YA JAANE NA [2008] but his part stands out and Sikandar ensures that happens. One of his best scenes is when he offers tea to the very protestors who have come to vandalize his house! Sanjay Kapoor is a natural. Manu Rishi Chadha is fine and it’s good that he doesn’t overdo the lisping bit. Koel Purie is strictly okay. Pooja Bhamrrah (Sonali) looks quite glamorous and plays the supporting part well. From the other crickets, the ones who leave the mark are Abhilash Chaudhary (Shivi), Gandharv Dewan (Harry) and Sachin Deshpande (Lakhi). Shankar-Ehsaan-Loy's music is in sync with the film’s mood. <em>'Lucky Charm'</em> is the best of the lot followed by <em>'Kaash'</em> and <em>'Maheroo'</em>. <em>'Pepsi Ki Kasam'</em> is played in the end credits. Indrajit Sharma and Parikshit Sharma's background score (with additional background score by Kingshuk Charavarty) is dramatic and adds to the fun. Manoj Lobo's cinematography is suitable and the lensman does a good job in the cricket scenes especially. Theia Tekchandaney, Abhilasha Devnani and Gayatri Thadani's costumes are very appealing. The ones worn by Sonam especially are too good which was expected. Rajat Poddar's production design is rich. After Studios' VFX is quite good, although it’s a bit poor in some scenes. But overall, it’s a good job considering that quite a many scenes are shot against the green screen. Utsav Bhagat's editing gives the film a pacy feel but some scenes could have had a bit of slow, slow-motion effect especially in the finale. On the whole, THE ZOYA FACTOR is a feel-good popcorn entertainer that works chiefly due to concept, treatment, humour and performances. At the box office, it has the potential to grow dramatically due to a good word of mouth.

Political films, based in the hinterland, have a strong chance at the box office, especially when made in a massy way. Sanjay Dutt who has had a rough time at the box office ever since his new innings in Bollywood post his release from jail is now back with PRASSTHANAM, the Telugu remake of the 2010 film of the same name. The original was loved for its plot, concept and performances. So does the remake turn out to be the much-needed hit for Sanjay Dutt? Or does PRASSTHANAM fail to entice? Let’s analyse. <img class="aligncenter wp-image-1020673 size-full" title="Movie Review Prassthanam" src="https://www.bollywoodhungama.com/wp-content/uploads/2019/09/Movie-Review-Prassthanam.jpg" alt="Movie Review Prassthanam" width="750" height="450" /> PRASSTHANAM is the story of family, trust and betrayal in a lawless land. 25 years ago, in Ballipar, Shiv (Anuup Sonii) has stood for elections against a violent rival. The rival stabs Shiv during a rally, resulting in his death. Shiv's father is an ex politico who is distraught by the demise of his son. He tells his most trusted aide, Baldev Pratap Singh (Sanjay Dutt) to take over the reins and also to take care of Shiv’s wife Saroj (Manisha Koirala) and his two children. Baldev agrees but not before eliminating the rival candidate who killed Shiv. Baldev is helped here by his closest confidante, Baadshah (Jackie Shroff). Baldev marries Saroj and this angers Shiv’s daughter Palak. But Shiv’s son Ayush looks up to Baldev. Baldev and Saroj give birth to a son, Vivan due to which Palak further feels alienated. The story then moves 25 years forward in the present day. Baldev has been a four time MLA and is busy with the upcoming elections. He recently got a stay order on a land which is being illegally usurped by a cunning businessman, Bajwa Khatri (Chunky Panday). Palak (Chahatt Khanna) is now a doctor and is happily married and also has two kids. She has completely broken contact with Saroj and Baldev and she only is in touch with Ayush (Ali Fazal). Ayush still has the respect for his step father and dutifully works under him. Baldev is so happy with Ayush that he’s made it clear that he will be his heir. Vivan (Satyajeet Dubey) is infuriated with this bond as he feels he’s the biological son of Baldev and hence he is the rightful heir. Baldev however realises that Vivan is not cut for politics and advises him to study abroad and then handle his hospitality business. Vivan revolts and due to his hot headed nature, ends up insulting Asma (Divinaa Thackur), Baadshah's daughter who’s also the manager in Baldev's hotel. Baldev is aghast with Vivan's behaviour and tells Ayush to apologise to Asma which he does. He also tells Ayush to train under Asma and he agrees. While working together, both get close. One day, Baldev is shot by assailants belonging to Bajwa who wants to avenge the loss of his land. Baldev survives and gets second thoughts about fighting elections. But Ayush takes care of everything and ensures that Baldev signs the nomination papers. Baldev gets whole hearted support from locals and hence, the party assures that he’ll become the state home minister after winning the elections and that Ayush will be youth president. Vivan revolts but Baldev shuts him up. Vivan ends up drinking and creating a scene in the hotel. Asma tries to control the situation but he ends up drugging and raping her. When he and his friends escape from the hotel with Asma, their car meets with an accident. They decide to finish Asma and try to pass it off as a road accident. What happens next forms the rest of the film. Deva Katta's story is promising on paper as the film touches upon issues of how all is fair when it comes to politics. The Machiavellianism bit comes across well. Deva Katta's screenplay (with additional screenplay by Farhad Samji) is also effective especially in the first half. But the film is devoid of entertainment in the second half and gets too violent. A few sequences are also unconvincing at this point. The pre-climax puts some things straight but the anti-climax finale spoils things. Farhad Samji's dialogues are acidic and even clapworthy. Deva Katta's direction is quite simple and that works to an extent as the storyline is quite vast and complicated due to the presence of so many characters and the dynamics they share with each other. But one wishes he had done something about the finale as it’s the most disappointing part of the film. Also, audiences have seen films like RAAJNEETI, SARKAR, GANGS OF WASSEYPUR etc which are also based on corruption and bloodshed in politics and these films had far better impact. PRASSTHANAM pales in comparison of these memorable flicks. <span style="text-decoration: underline;"><strong>“Salman Khan- TIGER, Shah Rukh Khan- BADSHAH, Ranbir – DILWALA”: Sanjay Dutt | Rapid Fire</strong></span> <iframe id="jwiframe" class="playerFrame" src="https://www.bollywoodhungama.com/videos/celeb-interviews/salman-khan-tiger-shah-rukh-khan-badshah-ranbir-dilwala-sanjay-dutt-rapid-fire/?jwembed=1" width="800" height="340" frameborder="0" allowfullscreen="allowfullscreen"></iframe> PRASSTHANAM begins on a fine note showing the flashback and how the dynamics haven’t changed between certain characters over the years. The title track played during an action scene of the flashback is quite massy and would be enjoyed in single screens. The first half has some well written and executed scenes and has enough drama. The rape sequence and the aftermath is a shocker and makes for a great interval point. The second half is when things get really messy. The characters become sworn enemies of each other resulting in bloodbath. Sure there’s unpredictability but it’s get too much. There’s a solid twist in the pre climax that revives interest. However, shockingly the climax is absolutely <em>thanda</em>. One expects fireworks but it just ends on a tepid note. Single screen audiences, the target audience, will be expecting such an action packed film to end on a rocking note. But they surely would come out feeling dejected. Sanjay Dutt gives a genuinely good performance and doesn’t go over the top. He keeps it restrained and it suits the character. Ali Fazal however steals the show. He gets the maximum screen time and he rocks the show. Jackie Shroff hardly has any dialogues but his screen presence is electrifying. The <em>'Haji Ali'</em> track comes suddenly and seems weird to see a character run all the way from Uttar Pradesh to Mumbai. But Jackie’s performance saves the day. Manisha Koirala is decent but doesn’t have much to do. She’s like the silent observer and one surely expected more from such a dynamic performer. Satyajeet Dubey is great in the villainous role and oozes fear. Chunky Panday is passable. Amyra Dastur (Shivi) doesn’t get much scope. Chahatt Khanna and Divinaa Thackur do well. Other actors who leave a mark are Deepraj Rana (S P Narang), Zakir Hussain (Majid Maqbool) and Annup Sonii. Ishita Raj is smoking hot in the item number. Talking of music, the title track is the most memorable. This is followed by <em>'Haji Ali'</em> chiefly due to Jackie’s presence. <em>'Dil Bevda'</em>, the item song, is nothing great. <em>'Charo Khane Chit'</em> is forgettable while <em>'Dil Dariyan'</em> is wasted. Mahesh Shankar's background score is dramatic. Ravi Yadav's cinematography is appropriate and the birds-eye shots of Lucknow are well captured. Abbas Ali Moghul's action is a bit gory as per the requirement. Pallavi Bagga and Suman Roy Mahapatra's production design is average. Priyanka Mundada's costumes are straight out of life. Ballu Saluja's editing is quite good in the first half especially. On the whole, PRASSTHANAM rests on some great performances and a fine first half. But the second half and especially the lacklustre ending spoil the show. The buzz for the film is low due to which it will face a tough time at the box office.

In 1983, Dharmendra launched his older son Sunny in the love story BETAAB, which proved to be a huge success in all respects. 36 years later, life comes full circle as Sunny Deol now takes up on himself to launch his older son Karan Deol with PAL PAL DIL KE PAAS. Sunny is not just the producer - he also dons the director’s hat. The film has been in the making for a long time and has been shot in virgin locales of the Himalayas. So does history repeat with PAL PAL DIL KE PAAS and does it turn out to be a success? Or does it fail to touch the hearts of the viewers? Let’s analyse. <img class="aligncenter size-full wp-image-1020825" src="https://www.bollywoodhungama.com/wp-content/uploads/2019/09/Movie-Review-Pal-Pal-Dil-Ke-Paas-IMG.jpg" alt="Movie Review Pal Pal Dil Ke Paas IMG" width="750" height="450" /> PAL PAL DIL KE PAAS is a love story set amidst the beauty of Himalayas and the ugly politics of Delhi. Karan Sehgal (Karan Deol) resides in Manali and is the owner of the very popular Camp Ujhi Dhaar. He lost his parents in an avalanche when he was 10 while they were on the hunt for the elusive snow leopard. The costliest trekking package offered by Camp Ujhi Dhaar is worth Rs. 5 lakhs and involves solo trekking with an expert. Vlogger Sahher Sethi (Sahher Bambba) from Delhi, who has just taken a break from her boyfriend Vinny (Aakash Ahuja), signs up for it as an excuse to escape from her nagging relatives who are to visit her house. The expenses are borne by her company for which she vlogs. Sahher is known for tarnishing the image of hotels and tour companies with her acidic vlogs and she’s all set to do the same with Camp Ujhi Dhaar too. She believes charging Rs. 5 lakhs is akin to a daylight robbery by the camp. Karan himself takes up the responsibility of taking Sahher for the 5-day trek. Initially, she detests Karan and says negative stuff about him in her daily vlogs. Karan, on the other hand, too doesn’t think too high of Sahher. But slowly, they fall for each other. Sahher changes her mind and realizes that the trek is the best thing that has happened to her.  She returns to Delhi and continues to be in touch with Karan. She breaks up with Vinny, infuriating her. But he doesn’t show and pretends to be cool with her decision. Karan, unable to survive without her, reaches Delhi when she hints him that she misses him too. They profess their love for each other. Vinny decides to put a devious plan into motion to bring back Sahher in his life. He’s aided in this plan by his elder brother Sushant Narang (Aakash Dhar), who’s running for the elections and the son of Ratna Narang (Meghna Malik), who’s into politics since two decades. What happens next forms the rest of the film. Jasvinder Singh Bath and Ravi Shankaran's story is beaten to death and very ordinary. It’s shocking that a story like this was approved in today’s day and age. Jasvinder Singh Bath and Ravi Shankaran's screenplay is also poor, especially in the second half. The first half is also nothing great but the mountaineering bit makes it watchable. Jasvinder Singh Bath and Ravi Shankaran's dialogues are also nothing memorable at all. Sunny Deol's direction is simple and decent. He executes the mountaineering scenes very well in the first half. Also, he does justice to the visuals and locales at his disposal. Unfortunately, since the script itself is so weak and outdated, his execution fails to save the film. He tries to enhance the film’s appeal with action and even a sequence on the racing circuit. Then there’s a bizarre snow leopard sequence but it works as he directs it well. But these factors can’t be of much help when the script itself is not upto the mark. PAL PAL DIL KE PAAS has a very poor commencement, showing Karan’s childhood and his present-day life. Sahher’s entry scene is also unconvincing and the attempt to be funny falls flat. The interest is set once the trek begins. The finest scene of the film is when Sahher faints due to altitude sickness and Karan puts her on his back and treks on a steep slope. The rest of the scenes are okay and the interest is maintained due to the locales and the trekking factor. The second half begins well with the <em>'Dil Uda Patanga'</em> track. Things then go downhill as there’s no story as such in the second half. And whatever story is there is very clichéd and routine. Moreover, it’s very predictable. The action scene raises interest and individually, it works. But as part of the film, it won’t be lapped up by the audiences. The finale is very simplistic and unconvincing. <span style="text-decoration: underline;"><strong>Pal Pal Dil Ke Paas Public Review | Sunny Deol | Karan Deol | Sahher Bambba | FDFS</strong></span> <iframe id="jwiframe" class="playerFrame" src="https://www.bollywoodhungama.com/videos/first-day-first-show/pal-pal-dil-ke-paas-public-review-sunny-deol-karan-deol-sahher-bambba-fdfs/?jwembed=1" width="800" height="340" frameborder="0" allowfullscreen="allowfullscreen"></iframe> Karan Deol puts a genuine effort but still, it falls short. He’s too raw and still needs guidance to become a fine actor. In the scene where he’s racing, he has a weird smile on his face and it takes away the impact. The attempt to roar like his father in the action scenes will work with the front benchers though. Sahher Bambba meanwhile does very well and has a wonderful screen presence. Aakash Ahuja is fine as the villain. Kamini Khanna (Sahher’s grandmother) is adorable and raises laughs in a funny scene. Meghna Malik leaves a huge mark. Aakash Dhar, Simone Singh (Sahher’s mother), Sachin Khedekar (Sahher’s father), Nupur Nagpal (Natasha), Vijayant Kohli (Kapil Gupta) and Kallirroi Tziafeta (Karan’s mother) are decent. Music is okay but some of the songs are shot well. <em>'Pal Pal Dil Ke Paas'</em> comes at a significant juncture. <em>'Ho Jaa Awara'</em> is the best of the lot thanks to its picturisation. <em>'Dil Uda Patanga'</em> comes next. <em>'Aadha Bhi Zyaada'</em> fails to work due to Karan’s acting. <em>'Ishaq Chaliya'</em> is forgettable. <em>'Maa Ka Mann'</em> is very soulful but comes at a very unconvincing point in the movie. Raju Singh and Rishi Rich's background score is quite exhilarating. Himman Dhameja and Ragul Dharuman's cinematography is spectacular. The locales of Himachal Pradesh are shot beautifully. The whole team deserves credit for shooting the film at locations that have been never before explored on celluloid. Not just the mountain scenes, even the second half is shot nicely. Resul Pookutty's sound design adds to the effect. Amardeep Behl and Tina Dharamsey's production design are appealing. Niharika Khan and Vishakha Kullarwar's costumes are very glamorous, especially the ones worn by Sahher Bambba. Vikram Dahiya's action is spot on. Prime Focus's VFX is quite okay and could have been better in the snow leopard sequence. Devendra Murdeshwar's editing could have been slicker, considering that the film is too long at 153 minutes. On the whole, PAL PAL DIL KE PAAS has an outdated storyline, with just the mountain scenes and Sunny Deol’s direction saving the day to an extent. As a result, the film will have a very tough time at the box office.

Our long-drawn independence struggle saga is filled with innumerable stories of bravery and valour. Sadly, a few of them have been lost in the pages of history or only have local awareness. Uyyalawada Narasimha Reddy is one such great man who is credited to have fought a decisive battle a decade before the great 1857 rebellion. Ram Charan takes up the challenge of making a film on this figure, titled SYE RAA NARASIMHA REDDY, and it features his father, megastar Chiranjeevi. The presence of actors from other industries and that it releases in Hindi and other versions make SYE RAA NARASIMHA REDDY a pan-India film in the truest sense. So does SYE RAA NARASIMHA REDDY manage to entertain and stir up the viewers? Or does it fail to impress? Let’s analyse. <img class="aligncenter size-full wp-image-1025279" src="https://www.bollywoodhungama.com/wp-content/uploads/2019/10/Syeraa-Narasimha-Reddy-10.jpg" alt="" width="720" height="450" /> SYE RAA NARASIMHA REDDY is the story of India's first chapter of freedom struggle. The year is 1857. The soldiers of Rani Lakshmibai (Anushka Shetty) are wondering whether a handful of them will be able to fight the huge British army. In order to motivate them, the Queen narrates the story of the brave Narasimha Reddy (Chiranjeevi) who revolted against the British a decade before the 1857 revolt. The story then goes in flashback mode. Narasimha Reddy is a ruler of a part of the territory in South India called Rayalaseema. He is a part of a polygar which consists of several other rulers like Avuku Raju (Sudeep), Basi Reddy (Ravi Kishan) etc. All these kings get pension from the British and are expected to be submissive to the Crown. Narasimha Reddy however is in disagreement with this arrangement and is finding a way out to free his kingdom from the clutches of the British. The region faces drought and to appease the rain gods, Narasimha Reddy's learned mentor Guru Gosayi Venkanna (Amitabh Bachchan) asks for a <em>yagna</em> to be conducted. Narasimha is shocked as he learns that the last time a similar yagna took place was in his childhood and that time, he was married off to Siddhamma (Nayanthara). But the married couple was kept apart as there was a <em>'dosh'</em> in their union and they could reunite only after another <em>yagna</em>. Narasimha Reddy is devastated at first as he loves Lakshmi (Tamannaah Bhatia). With a heavy heart, Narasimha Reddy leaves Lakshmi and advises her to use her dancing talent for the greater good. He then accepts Siddhamma and begins his married life. Despite the drought, the British officer Jackson (Oscar Skagerberg) asks for tax from farmers. He even mocks them and once while he’s doing so, Narasimha Reddy arrives and teaches him a lesson. An angry Jackson enters a village ceremony and eliminates 5 farmers and a child. Narasimha Reddy is so angry that he enters the British settlement, attacks the soldiers and then beheads Jackson. The other rulers of the polygar refuse to help him at first but then join Narasimha Reddy in challenging the mighty British Empire. What happens next forms the rest of the story. Paruchuri Brothers's story is excellent and makes for a grand, patriotic film. They have obviously fictionalized a lot of developments in the plot but it has been done very well. Surender Reddy's screenplay is confusing in the beginning as too many characters get introduced and it might seem difficult to understand who is exactly related to whom. But in the later sequences, the script is quite effective and packs a punch. Manoj Muntashir and Jitender Pawar's dialogues are sharp although some of them are over the top. Surender Reddy's direction is quite massy and simple. Most of the important scenes are well executed and leave a lasting impression. He stirs up the viewer’s emotions beautifully. One can’t help but hate the British for their atrocities and one can’t help but root for Narasimha Reddy for his acts. On the flipside, the initial portions are strictly average. The film moves too fast, since it’s already too long at 171 minutes and hence, a few scenes don’t make the desired impact. There’s also a déjà vu of BAAHUBALI, the Hollywood flick 300 and even surprisingly THE AVENGERS and this was avoidable in many places. SYE RAA NARASIMHA REDDY’s initial portions are not very impressive. The proceedings are neither great nor terrible – it’s somewhere in between. The first 30-40 minutes are spent in introducing the characters, the setting, location etc. The entry of Siddhama makes for a great twist in the tale. But a few developments are difficult to digest at this point. Sidhamma remembers her marriage, which took place in the childhood, without fail but Narasimha Reddy doesn’t even know he’s married! However, the film really picks up in the scene where Jackson arrives at a farmland and mocks a farmer. The manner in which Narasimha Reddy gives a monologue and challenges Jackson is clapworthy. The intermission sequence however is even better and the audiences in single screen cinemas will go crazy at this point. The second half too has some great moments though they could never reach the level of the aforementioned sequences of first half. It also gets a bit too long. But it keeps one engaged. The finale is powerful and the film ends on a rocking note. <span style="text-decoration: underline;">Ram Charan REVEALS Why He Has Not Acted In Sye Raa Narsimha Reddy | Chiranjeevi | Big B</span> <iframe id="jwiframe" class="playerFrame" src="https://www.bollywoodhungama.com/videos/celeb-interviews/ram-charan-reveals-why-he-has-not-acted-in-sye-raa-narsimha-reddy-chiranjeevi-big-b-2/?jwembed=1" width="800" height="340" frameborder="0" allowfullscreen="allowfullscreen"></iframe> SYE RAA NARASIMHA REDDY has a great ensemble cast but the film belongs to Chiranjeevi. No two doubts on that! He owns the film with his performance and style. It’s also commendable to see him doing action at this age so well. His stardom is intact and that adds a lot to his character and to the film at large. Sudeep is quite good as the mysterious and badass ruler and would be liked by audiences. Tamannaah Bhatia has a supporting role but she springs a surprise in the second half. Watch out! Nayanthara gets a very raw deal and the only scene where she leaves a mark is when she confesses her love for Narasimha Reddy. Vijay Sethupathi (Raja Paandi) has a late entry but is entertaining. Jagapathi Babu (Veera Reddy) creates an impact in the pre climax. Oscar Skagerberg is excellent as the villain and would be remembered, though he’s there only in the first half. Ravi Kishan and Mukesh Rishi act well but their voices are dubbed by someone else, which makes their performance a little awkward. Lakshmi Gopalaswamy (Narasimha Reddy’s mother) is passable. Lastly, Amitabh Bachchan is smashing in the special appearance while Anushka Shetty as always is impressive. Amit Trivedi's music is nothing great but works in the film. <em>'Jaago Narsimha Jaago Re'</em>, played in the beginning, fails to make a mark. <em>'Sandal Meraa Mann'</em> isn’t memorable either. <em>'Sye Raa'</em> comes at an excellent juncture and very well shot. <em>'Saansein Teri Desh Hai'</em> is played in the end credits but doesn’t have the period feel. Julius Packiam's background score is way better and adds to the drama and exhilaration. Ratnavelu's cinematography is top-notch and goes on another level in the battle and action scenes. Rajeevan's production design is quite grand as well as authentic. Greg Powell, Lee Whittaker, Ram-Laxman and A Vijay's action is one of the highpoints of the film. It’s gory at times but done well overall. Anju Modi, Sushmita Konidela and Utthara Menon's costumes are regal. Sreekar Prasad’s editing is quite fast-paced and even reckless at places, which could have been avoided. On the whole, SYE RAA NARASIMHA REDDY is a great patriotic saga and a visual spectacle that leaves a tremendous mark thanks to its plot, Chiranjeevi’s performance and massy execution. At the box office, it has the potential to succeed.

Two-hero films were in vogue at one point but in today’s times, it’s a rarity. Yash Raj Films brings respite in this regard in the form of WAR, one of the most anticipated flicks of the year. The film features two of the most popular actors today and the way they have been portrayed has upped the excitement to insane levels. So does WAR manage to meet all the expectations and emerge as a true blue action entertainer? Or does it fail to entice? Let’s analyse. <img class="aligncenter size-full wp-image-1025368" src="https://www.bollywoodhungama.com/wp-content/uploads/2019/10/War-3.jpg" alt="" width="720" height="450" /> WAR is the story of two patriotic soldiers fighting against each other. Khalid (Tiger Shroff) is the son of an army officer, who had joined hands with the enemies. As soon as Khalid's mother (Soni Razdan) found out, she informed the army and the father got killed by fellow officer, Kabir (Hrithik Roshan). For an important mission, Khalid is assigned a part in Kabir's team. Kabir obviously is apprehensive but Khalid wins him over with his loyalty and bravery. The story then moves two years ahead. Kabir is assigned the duty of eliminating a dreaded terrorist. Instead of killing him, Kabir bumps off his commanding officer, V K Naidu (Mohit Chauhan). Khalid and others are shocked that someone like Kabir has gone rogue. Khalid is instructed to kill Kabir immediately before he causes any more harm. While Khalid is trying to find out Kabir’s whereabouts, the latter steals army equipment in a daredevil mid-air stunt. In another act of bravado, Kabir comes in front of Khalid and informs him that his next target is a certain Dr. Utpal Biswas (Arif Zakaria). What happens next forms the rest of the film. Aditya Chopra and Siddharth Anand's story is decent and loaded with twists and turns. Shridhar Raghavan and Siddharth Anand's screenplay is effective and engaging for most parts. However in the second half, a lot of dumbing down happens which could have been avoidable. A few developments are quite unconvincing and are hence, difficult to digest. Abbas Tyrewala's dialogues aren’t memorable as such but work. Siddharth Anand's direction is simple and he shows that he has the ability to handle a film of this scale. He also joins the dots in the narrative neatly. On the flipside, he could have shortened some of the action scenes for a better impact. A few moments also give one déjà vu of past YRF films like DHOOM, TIGER ZINDA HAI etc. Lastly, the way Tiger Shroff and Hrithik Roshan are pitted against each other might not seem entirely acceptable to the fans. WAR begins on a rocking note. The entry sequence of Kabir has a twist and startles viewers. If Kabir’s entry impresses, Khalid’s entry blows one away as it’s a smashing action scene shot in one take. One expects the cat and mouse chase sequence to begin immediately from hereon. But instead, the film goes on a flashback mode to explain the dynamics of Kabir and Khalid’s bond. The mid-air action scene is quite fun while the intermission comes at a decisive point. Post interval, the Hrithik vs Tiger saga begins in full force and makes for a fun watch. The film also gets a bit stretched but the twist in the tale saves the day to an extent. Ideally a film like this should have ended on a high but the finale fight is tedious and too long. <strong><span style="text-decoration: underline;">War: Public Review | First Day First Show | Hrithik Roshan | Tiger Shroff | Vaani Kapoor</span></strong> <iframe id="jwiframe" class="playerFrame" src="https://www.bollywoodhungama.com/videos/first-day-first-show/war-public-review-first-day-first-show-hrithik-roshan-tiger-shroff-vaani-kapoor/?jwembed=1" width="800" height="340" frameborder="0" allowfullscreen="allowfullscreen"></iframe> Talking of performances, both Hrithik Roshan and Tiger Shroff deliver exceptional performances. Hrithik Roshan looks very dashing and his performance is outstanding. He is brilliant in every frame. In some of the emotional moments, he’s quite endearing. Tiger Shroff’s action as expected is out of this world and it’s commendable the way he fights baddies in the long action sequence in the beginning. In the emotional sequences, he shines and his act gets better in the pre-climax and finale. Vaani Kapoor (Naina) has a very late entry but manages to impress with her performance and oomph. Also, she dances like a dream. Ravi Awana (Basheer) is very convincing as the terrorist. Sanjeev Vatsa (Rizwan Ilyasi) and the actor playing Feroze Contractor are quite good as the baddies. Ashutosh Rana is dependable as always. Anupriya Goenka (Aditi) has a decent screen presence and suits the part. Dipannita Sharma (Dr Mallika Singhal) is okay in the cameo. Soni Razdan, Arif Zakaria, Mohit Chauhan and Swaroopa Ghosh (Sherna Patel) are fine. Vishal-Shekhar's music doesn’t have a long shelf life. <em>'Jai Jai Shivshankar'</em> is the better of the two songs thanks to Hrithik and Tiger’s chemistry. <em>'Ghungroo'</em> comes next. Sanchit Balhara and Ankit Balhara's background score is energetic and adds to the thrill. Benjamin Jasper’s cinematography matches global standards. The film is shot in some of the beautiful locales of the world and the lensman does justice to each place. Rajat Poddar's production design is rich and appealing. Paul Jennings, Oh SeaYoung, Parvez Shaikh and Franz Sphilhaus's action is a highpoint. Each and every action scene is well thought of and choreographed. The finale fight however could have been shorter and more imaginative. Anaita Shroff Adajania and Niharika Jolly's costumes make the actors look sexier. YFX’s VFX is superior. Aarif Sheikh's editing is slick. The various action shots are well stitched together. But in the second half, there was a need to trim down a few scenes. On the whole, WAR is a paisa-vasool action entertainer which has style as well as enough twists and turns to keep the viewers engrossed. At the box office, the extended weekend, dazzling action, stunning international locales and stylish execution will ensure mammoth footfalls for the film.

The death of a young child can be one of the most painful experiences for any parent. Director Shonali Bose, who suffered a similar loss in her life, is now back with THE SKY IS PINK, based on the life of a motivational speaker, Aisha Chaudhary, who passed away at the age of 19. The team of the film has promised that it stands out as it focuses on celebrating the life of the deceased person instead of living through the sorrow of him or her not being there anymore. So does THE SKY IS PINK emerge as a touching and uplifting film? Or does it fail to strike a chord with the viewers? Let’s analyse. <img class="aligncenter size-full wp-image-1028860" src="https://www.bollywoodhungama.com/wp-content/uploads/2019/10/The-Sky-Is-Pink-4.jpg" alt="" width="750" height="450" /> THE SKY IS PINK is the story of a family facing a crisis over a period of nearly two decades. Niren Chaudhary (Farhan Akhtar) from Chandni Chowk marries Aditi Chaudhary (Priyanka Chopra), a South Delhi girl and also his childhood love, in 1986. They have a son, Ishaan (Rohit Saraf) after a few years. Aditi also gives birth to a daughter, Tanya, but she passes away in 6 months. That’s because both Aditi and Niren have a rare faulty gene. They again try for a baby and on March 27, 1996, Aisha (Zaira Wasim) is born. Sadly, just like Tanya, Aisha too gets affected due to rare faulty genes of her parents and develops a condition called Severe Combined Immunodeficiency (SCID), an immune deficiency order. They move to London for her treatment and even manage to raise double the funds needed for her treatment. At the age of 6 months, Aisha gets a bone narrow transplant but as a side effect of this treatment, she develops a serious illness of the lungs called pulmonary fibrosis. This condition comes to the fore when Aisha is 13, at a time when the Chaudharys were hoping all her problems are history and she’ll lead a normal life. Moreover, the doctors make it clear that she won’t survive for more than 5 years. What happens next forms the rest of the film. Shonali Bose and Nilesh Maniyar's story is very promising and could have made for the most touching film of the year. Shonali Bose and Nilesh Maniyar's screenplay works only in parts. A few scenes are exceptional but in some sequences, the writing doesn’t have the desired impact. The film constantly goes into various flashback modes and it might be difficult to keep a track of the same. Juhi Chaturvedi and Nilesh Maniyar's dialogues are okay. A few one-liners work well and are witty. But some of the dialogues misfire, especially the narration of Aisha penned by Nilesh. The humour in the dialogues looks forced, especially the constant hammering of Aditi and Niren’s sex life. Shonali Bose's direction is strictly okay. She had a great subject in hand but she fails to do full justice. The film gets too long at 149 minutes and should have been way shorter. At the same time, a few details are skipped and ideally should have been focused, at least briefly. Aisha was inspirational speaker but this bit is touched only for a few seconds. Ishaan in a scene also exclaims that Aditi’s video has worked wonders on the internet. The audiences would have loved to see what Aisha spoke as motivational speaker, considering that she had a great sense of humour. Similarly, Niren is revealed to have a band and that surprises viewers as this part too never gets mentioned even once until the pre-climax. Shonali tries to make the situation light so that the film doesn’t get too heavy. Hence, she adds humour and in one crucial tragic scene, a funny background score is played and this decision completely fails to impress. On the positive side, she handles a few scenes with élan. One of the most beautiful aspects in the film is the bond Aisha has with her brother Ishaan. It’ll be unanimously loved. <span style="text-decoration: underline;">Priyanka Chopra: “The Sky Is Pink is About Celebrating People’s Lives Instead Of…” | Farhan Akhtar</span> <iframe id="jwiframe" class="playerFrame" src="https://www.bollywoodhungama.com/videos/celeb-interviews/priyanka-chopra-the-sky-is-pink-is-about-celebrating-peoples-lives-instead-of-farhan-akhtar/?jwembed=1" width="800" height="340" frameborder="0" allowfullscreen="allowfullscreen"></iframe> THE SKY IS PINK commences in the year 2015. The sad faces of Aditi and Niren indicate that things are not right between them. The story then goes on a flashback mode and keeps viewers engaged as Aisha gets conceived and her treatment takes them to London. A few scenes stand out here like Niren having the suspicion that Ishaan is not his son, Aditi blasting Niren for helping a lady called Sonia and Niren giving a surprise visit to Aditi in London. However, there’s too much back and forth happening as the film jumps across timelines. The emotional touch is also missing in the first half. In the second half, a few scenes are very moving and make the impact. But on the flipside, the long length plays spoilsport, among other factors. The subject, treatment, content and even the title is such that it’ll appeal only to select urban audiences. Priyanka Chopra delivers a great performance and carries most of the film on her strong, able shoulders. She has a very difficult part to essay but she effortlessly succeeds. Zaira Wasim puts up a confident act. The story is about her but her childhood portions dominate most of the first half. As a result, she makes an entry very late, though her voiceover plays from the first scene. She looks convincing as a happy-go-lucky person suffering from a terminal illness. Farhan Akhtar has a restrained performance and gives his best shot. Sadly, he gets a raw deal as the narrative focuses more on Priyanka and Zaira. Rohit Saraf looks dashing and shines in some important scenes in the second half. Gurpal Singh (RJ Arjun Gill) gives a heartfelt performance. Rajshri Deshpande (Anita Tandon), who made an impact with SACRED GAMES, has blink-and-miss appearances throughout the film. Ishan Jotshi (Karan; Aisha’s crush) is decent. Sudhavna Deshpande (Dr. Nirvick), Puja Sarup (Mohini), Sunil Chitkara (Niren’s father) and Nirupama Verma (Niren’s mother) are passable. Pritam's music is average. <em>'Dil Hi Toh Hai'</em> is the best of the lot and is very well shot. <em>'Nadaaniyaan'</em> and <em>'Zindagi'</em> are not very memorable. <em>'Pink Gulabi Sky'</em> is played in the end credits. Mikey Mccleary's background score is a bit theatrical and works only in some scenes. Kartik Vijay and Nick Cooke's cinematography is appropriate. The locales of Andaman and Nicobar Islands are well captured. Aradhana Seth's production design are realistic and yet appealing. Eka Lakhani's costumes are straight out of life and not over the top. Manas Mittal's editing could have been tighter. On the whole, THE SKY IS PINK has a great plot but falters on the account of a flawed execution and a lengthy runtime. At the box office, it will only appeal to a thin section of the niche audience in select metros.

Since last year, Bollywood has seen a rise in period films based in the pre-Independence era. Not just films based on real-life characters like MANIKARNIKA – THE QUEEN OF JHANSI, KESARI or SYE RAA NARASIMHA REDDY, but even fictional sagas like THUGS OF HINDOSTAN, TUMMBAD or the upcoming SHAMSHERA are also being made. Saif Ali Khan’s latest outing, LAAL KAPTAAN, belongs to the latter category and attempts to tell a revenge drama. So does LAAL KAPTAAN succeed in entertaining despite the niche appeal? Or does it fail to impress? Let’s analyse. <img class="aligncenter wp-image-1031588 size-full" title="Movie Review: Laal Kaptaan" src="https://www.bollywoodhungama.com/wp-content/uploads/2019/10/Movie-Review-Laal-Kaptaan.jpg" alt="Movie Review: Laal Kaptaan" width="750" height="450" /> LAAL KAPTAAN is the story of revenge spanning a couple of decades. The year is 1789, 25 years after Battle of Buxar. Hunter (Saif Ali Khan) is a Naga Sadhu who’s looking for a man called Rehmat Khan (Manav Vij). Through Noor Bibi (Sonakshi Sinha), Hunter finds out that Rehmat is a governor of a kingdom somewhere in North India. At this time, the evil Rehmat takes away all the treasure of his kingdom and kills his servants. Along with his army, his confidant Aadham Khan (Aamir Bashir), his wife (Simone Singh), wet nurse (Eshika De) and his newborn son, he abandons the fort and is on a way to the banks of the river Yamuna. By the time Hunter reaches the fort, there’s no one except a widow (Zoya Hussain). Hunter gets injured while fighting some Pathans on the way and the widow takes care of him and treats his wounds. In return, she requests him to take her with him. Hunter refuses and yet, she follows him. After Hunter and the widow leave, a tracker (Deepak Dobriyal) who’s an expert in finding out whereabouts with the help of his smelling power and pet dogs, reaches the fort. In some time, the Marathas attack the fort and the tracker agrees to help them find Rehmat. Rehmat was to give a portion of the treasure to the Marathas but since he didn’t, they are trying to find him. Meanwhile, a few days later, the Hunter reaches the place where Rehmat and his army have camped for the night. Hunter quietly enters Rehmat’s tent but he doesn’t kill him, which has always been his sole aim since 25 years. Rehmat’s army nabs Hunter but Rehmat doesn’t want him eliminated. He wants to know who exactly is Hunter and why he wants to kill him. Rehmat is also reminded that six years ago, he had crossed paths with Hunter and the latter had told him that he’ll finish him. Even then, Hunter had spared him. What happens next forms the rest of the film. Deepak Venkatesha and Navdeep Singh's story is very poor and gives a déjà vu of certain period films of Bollywood and also Hollywood. Deepak Venkatesha and Navdeep Singh's screenplay is confusing and ineffective. The film has too many tracks and except Hunter’s track, none of them are interesting. Also, the transition between tracks is not smooth. There’s a twist in the tale revealed in the pre climax but it arrives at a time when viewers are tired with the goings on and just want the film to end. Sudip Sharma's dialogues are nothing special and quite pretentious. The philosophical one-liners fail to entice. Also, various dialects and even Marathi is used and it’ll be difficult to decipher some of the lines in the absence of subtitles. Navdeep Singh's direction is highly disappointing. He had very weak material in his hand and moreover, he further spoils the show with his execution. The film is extremely dry and slow and very few scenes arrest your attention. There’s also an attempt to add humour with the character of the tracker and by showing Pindaris, allied with the Maratha army, as buffoons. But it just doesn’t impress. Even the revenge bit looks silly as Hunter crosses paths with Rehmat Khan twice and yet doesn’t kill him. <span style="text-decoration: underline;"><strong>Laal Kaptaan: Public Review | First Day First Show | Saif Ali Khan</strong></span> <iframe id="jwiframe" class="playerFrame" src="https://www.bollywoodhungama.com/videos/first-day-first-show/laal-kaptaan-public-review-first-day-first-show-saif-ali-khan/?jwembed=1" width="800" height="340" frameborder="0" allowfullscreen="allowfullscreen"></iframe> LAAL KAPTAAN has an intriguing beginning showing the flashback portion. Hunter’s entry is heroic but soon the film falls flat and it remains that way till the end, save for a few minutes in between. The film is too long at 155 minutes and moves at a snail’s pace. The story moreover is very random and also quite confusing. Hence, it becomes difficult for audiences to keep their interest. Also, it is bewildering that Hunter is desperate to find Rehmat Khan since 25 years. And when he finally meets him, he never kills him. Audiences would never be able to understand this factor. In the end, the reason is revealed but it’s very unconvincing and silly. Talking of performances, Saif Ali Khan genuinely puts up a good show. His look is quite dashing and he excels in action scenes. Manav Vij too does very well, as the baddie. His intense eyes work very well for such roles. Deepak Dobriyal is mildly amusing but in most scenes, his act doesn’t raise laughs. Zoya Hussain puts up a confident show. Simone Singh is decent. Aamir Bashir and Eshika De are passable. Neeraj Kabi (Sadullah Khan) gives a nice performance in a cameo and same goes for Chetan Hansraj (Sangram Singh) and Ajay Paul (Thakur). Vibha Rani (Laal Pari) is quite scary as clairvoyant but the director misses the bus here as he could have done a lot with this character. Madan Deodhar (Maratha captain) is appropriate and he’s the only one who manages some laughs. Henry Douthwaite (British officer Theodore Munro) has nothing much to do. Sonakshi Sinha is wasted and is there for just one scene. Samira Koppikar's music is nothing great and songs are badly used. <em>'Taandav'</em> sounds exhilarating but comes at a very confusing point in the movie. <em>'Red Red Najariya'</em> could have made for a great item song but is played just for a few seconds and hence, wasted. <em>'Kaal Kaal'</em> and <em>'Lahu ka Rang Kara'</em> don’t make the desired impact. Benedict Taylor and Naren Chandavarkar's background score is in sync with the film’s mood. Shanker Raman's cinematography is spectacular and the film is shot in some virgin locales. Rakesh Yadav's production design is authentic. Darshan Yewalekar's hair design and Dhananjay Prajapati's makeup is spot on, especially in case of Saif.  Maxima Basu Golani's costumes too are straight out of the 18^th century India. Illusion Ethereal's VFX is fine but could have been better in some scenes. Jabeen Merchant's editing is haphazard in several scenes. On the whole, LAAL KAPTAAN is bizarre and a poor film that has nothing substantial to offer the audiences in general. At the box office, the negligible buzz along with its release in the dull pre-Diwali period will spell doom for the film.

Aamir Khan’s landmark TV show ‘Satyamev Jayate’ introduced viewers to several real-life heroes that were then unknown. Two of the most memorable guests on this series were the ‘Revolver Daadis’, that is, Chandro and Prakashi Tomar. Tushar Hiranandani, for his directorial debut SAAND KI AANKH, decides to adapt their story onto celluloid. So does SAAND KI AANKH manage to enlighten and also entertain viewers? Or do the makers fail to do justice? Let’s analyse. <img class="aligncenter wp-image-1032669 size-full" title="Movie Review: Saand Ki Aankh" src="https://www.bollywoodhungama.com/wp-content/uploads/2019/10/Saand-Ki-Aankh-5-1.jpg" alt="Movie Review: Saand Ki Aankh" width="720" height="450" /> SAAND KI AANKH is the story of two women who find their calling in their 60s. The year is 1999. Chandro Tomar (Bhumi Pednekar) and Prakashi Tomar (Taapsee Pannu) are sister-in-laws living under one roof with their respective spouses, strict and orthodox brother-in-law Rattan Singh (Prakash Jha) and their children in Johri village in Uttar Pradesh. Both have crossed 60 years of age and though they had the desire to do something worthwhile in their lives, they were not allowed to because of the pressures of the patriarchal society. One day, Dr Yashpal (Viineet Kumar) returns back to Johri. He leaves his medical profession and starts his shooting range. Chandro’s daughter Shefali (Sara Arjun) expresses interest to practise shooting but Rattan obviously refuses to give permission. Yet, Chandro takes Shefali to the range. Without giving much thought, Chandro also tries her hand and surprisingly, she hits a bullseye! Yashpal tells her to try few more times and he realizes that Chandro is a pro. Later, even Prakashi joins and even she turns out to be an expert shooter! Yashpal encourages them to hone their skills at his shooting range and later, tells them to take part in a shooting competition held in Chandigarh. The <em>daadis</em> have never stepped outside their village in their lives. Hence, they get apprehensive at first but nevertheless, they agree. They fool their husbands and Rattan smartly and head to the competition where Prakashi emerges first and Chandro second. In no time, they win many tournaments with ease, while also cooking up various stories to tell their spouses. However soon there comes a time when the Tomar sisters are compelled to tell the truth to Rattan. What happens next forms the rest of the film. Balwinder Januja's story is very promising and inspiring. It not just enlightens viewers about the lives of Chandro and Prakashi Tomar but also gives an important comment subtly about the ills of patriarchal society and lack of awareness of population control. Balwinder Januja's screenplay is captivating for most parts but could have been better in the beginning of the flashback portion and in the pre-climax. Jagdeep Sinhu's dialogues are acidic and sharp. Tushar Hiranandani's direction is quite good for a first-timer and he’s in control of the writing material in hand. He also tries his best to make it as entertaining and mainstream as possible. Also he scores on the emotional front as the struggles of <em>daadis </em>and the way they get slammed by the male members of the family can leave viewers moist-eyed. On the flipside, he should have kept the duration in check. The last 15-20 minutes could have been better emotionally as the scene preceding the finale is too good. SAAND KI AANKH begins on an interesting note and Chandro and Prakashi’s entry puts a smile on one’s face. The flashback portion works in parts. In fact, the entire first half though engaging doesn’t really go on a high. There’s not enough drama or tension in this hour as the <em>daadis</em> are able to easily practise and even go to Chandigarh without the men getting suspicious. The best part of the first half is the Chandigarh competition and how both the women silence their detractors. Post-interval too, the tension doesn’t arise till a certain point. Yet, the second half is better as there are some very sweet moments. One of the most touching scenes here is when Chandro and Prakashi mistake the finger bowl for hot lime water and gulp it down the throats. The Maharani (Nikhat Khan) doesn’t want the <em>daadis</em> to be humiliated for their gesture and hence, even she does the same! Even the <em>jugaadu</em> disco light installed by the <em>daadis</em> in their house in <em>‘Baby Gold’</em> song is sweet. The confrontation sequence between the <em>daadis</em> and Rattan Singh is exhilarating. One expects the film to end here but it goes on for another 20 minutes as the film also focuses on the track of Shefali and Seema trying to be shooters. This track also has its moments but after the high-voltage confrontation scene, the film falls flatly in this said scene. The film ends on an emotional note. <span style="text-decoration: underline;"><strong>BLOCKBUSTER : Taapsee &amp; Bhumi’s HILARIOUS Rapid Fire on Akshay, clash with Housefull 4, women crush</strong></span> <iframe id="jwiframe" class="playerFrame" src="https://www.bollywoodhungama.com/videos/celeb-interviews/blockbuster-taapsee-bhumis-hilarious-rapid-fire-on-akshay-clash-with-housefull-4-women-crush/?jwembed=1" width="800" height="340" frameborder="0" allowfullscreen="allowfullscreen"></iframe> SAAND KI AANKH belongs to Taapsee Pannu and Bhumi Pednekar undoubtedly. It’s important to note that they don’t really look that old but both compensate for it through their performances. Taapsee is at ease and the way she breaks into a sheepish smile when her plan of fooling the men succeeds is damn good. She gives her best however in the last portion of the film. Bhumi too gives in her best and her body language is spot-on. Also her attempts to pick up English will elicit laughs in theatres. In a few scenes though, she gets overpowered by Taapsee. Viineet Kumar is endearing and would be loved in the role of the person who serves as catalyst in the journey of the ‘Revolver Daadis’. From his dialogue delivery to his expressions, he gets his act just right. Prakash Jha is very convincing in what can be called a negative role and one can’t help but hate him from start to finish! Shaad Randhawa makes his presence felt in the second half of the film. Nikhat Khan is lovely as the Maharani and she is a part of some of the most important scenes of the film. Sara Arjun has a great screen presence and does well. Yogendra Singh (young Rattan Singh) is apt. S K Batra (I G Jaidev), Pawan Chopra (Jai Singh Tomar), Kuldeep Sareen (Bhanwar Singh Tomar), Pritha Bakshi (Seema) and Himanshu Sharma (Sachin) also put their best foot forward. Vishal Mishra's music is situational and works well, but only as a part of this film. <em>'Udta Teetar'</em> is exhilarating. <em>'Womaniya'</em> appears in the end and is memorable as the real Chandro and Prakashi Tomar also feature in the track. <em>'Aasmaa'</em> is touching and sung well by Asha Bhosle. <em>'Baby Gold'</em> and <em>'Jhunna Jhunna'</em> have catchy tunes and shot appropriately. Advait Nemlekar's background score has the commercial feel. Suddhakar Reddy Yakanti's cinematography is spectacular, especially in the shooting scenes. The camera moves in such a way that it adds to the drama. Also watch out for a scene where all the important movements of characters are captured in that rear-view mirror of a motorbike. Ravi Srivastava's production design is authentic. The fact that it was shot in the village of the Tomar sisters also adds to the authenticity. Rohit Chaturvedi's costumes are straight out of life. Sunil Rodrigues's action gels well with the film. Rajeev K Rastogi's VFX is rich. Devendra Murdeshwar's editing is neat but could have been tighter in the second half. On the whole, SAAND KI AANKH rests on an inspiring story and bravura performances by Taapsee Pannu and Bhumi Pednekar. At the box office, however, it will need a strong word of mouth to survive competition in the form of HOUSEFULL 4 and MADE IN CHINA.

The residents of Gujarat are known for their entrepreneurial spirit and in recent times, films like KAI PO CHE [2013], MITRON [2018] etc were partly based on this aspect. Now debutant director Mikhil Musale takes this one step ahead with his Diwali release, MADE IN CHINA, which incidentally also stars KAI PO CHE actor Rajkummar Rao as the protagonist along with many other talented names. So does MADE IN CHINA manage to give the audiences a great time? Or does it fail in its endeavour? Let’s analyse. <img class="aligncenter wp-image-1034261 size-full" title="Movie Review: Made In China" src="https://www.bollywoodhungama.com/wp-content/uploads/2019/10/Made-In-China123.jpg" alt="Movie Review: Made In China" width="720" height="405" /> MADE IN CHINA is the story of a man who beats all odds to become an expert businessman. Raghu Mehta (Rajkummar Rao) is based in Ahmedabad and is a failed businessman. He has tried his hands in various kinds of businesses but the effort has been futile each time. He then accepted his deceased father’s advice and began to run his family-owned clothes shop. Even here, he tries to experiment and stocks Nepali mattresses but nobody is interested to buy it. Raghu is married to Rukmini (Mouni Roy) who is understanding and supports him through thick and thin. But Raghu’s father-in-law Vitthal (Manoj Joshi) and Devraj (Sumeet Vyas) don’t appreciate Raghu’s attempts. They advise him to sell his shop at a good price and also to go to China and help Devraj set up his venture of providing a herbal soft drink. Raghu reluctantly takes up the China offer where sadly, the deal with Tanmay Shah (Paresh Rawal) fails to materialize. However, Raghu befriends a local colleague there, Xui Lee (Danni Wang). She introduces him to Hou Lee (Jeffrey Ho) who claims to have made an effective aphrodisiac called Magic Soup that too from the reproductive organs of tiger. Hou Lee insists Raghu to sell it in India and make millions for both. Raghu returns to India, impressed with the idea, and he decides to do ground research. He meets several sex doctors, tantric babas etc and realizes that most of them are only interested to financially exploit the desperate people struggling with sexual problems. Raghu then comes across Dr Tribhuvan Vardhi (Boman Irani) who is honest and not money-minded. Immediately, Raghu insists that Dr Vardhi should sell Magic Soup to his patients and in return, he’ll get 50% share in profit. Dr Vardhi refuses at first but after much cajoling, he accepts the offer. On the advise of Tanmay Shah, Raghu turns Dr Vardhi into an online sensation which in turn helps in the sales of Magic Soup. All is going well until one day, a high-profile Chinese national, General Zeng (Dawei Yu), consumes Magic Soup and passes away in a few minutes. Consequently, Raghu and Dr Vardhi are caught by the police. Considering the gravity of the situation, the government dispatches two CBI agents, Gupta (Chitranjan Tripathi) and Sharma (Abhishek Banerjee) to investigate. What happens next forms the rest of the film. Mikhil Musale, Karan Vyas and Parinda Joshi's story is juvenile and unconvincing. There are far too many characters and justice is not done to many of them. Mikhil Musale, Karan Vyas and Parinda Joshi's screenplay (with additional screenplay by Niren Bhatt) is a bigger culprit. The poor storyline could have been still made for a slighter better film. But that doesn’t happen as the film lacks drama, tension and even sufficient humour. Niren Bhatt and Karan Vyas's dialogues could have been much better worded and unique. For instance, the way Dr Vardhi’s speech goes viral seems difficult to digest as he didn’t say anything that’s not been said before. Mikhil Musale's direction is weak. He knows the shot taking techniques but storytelling wise, his approach is flawed. There are too many jumps in the timeline. The entire China trip episode is bewildering as viewers never get to know where Devraj disappeared and when and how did Raghu return to India. The film, moreover, begins as a murder mystery, but this bit is kept unexplained till the very end. On the positive side, a few scenes are entertaining like Raghu roaming around with Xui Lee, the scenes of Tanmay Shah and the scene in the library involving Raghu and Dr Vardhi. <span style="text-decoration: underline;"><strong>‘Double Meaning’ quiz: Rajkummar &amp; Mouni’s most hilarious &amp; closely fought battle | Made In China</strong></span> <iframe id="jwiframe" class="playerFrame" src="https://www.bollywoodhungama.com/videos/celeb-interviews/double-meaning-quiz-rajkummar-mounis-most-hilarious-closely-fought-battle-made-in-china-2/?jwembed=1" width="800" height="340" frameborder="0" allowfullscreen="allowfullscreen"></iframe> MADE IN CHINA begins on a high note and the murder is shown at the very onset. One expects the narrative to get better as the film goes on a flashback mode. But nothing of that sort happens. The first half is dry and story-wise, nothing much happens. The interval arrives all of a sudden. In the second half, there’s some movement in the story as Raghu finally rises to the top. But even here, the scattered and disjointed plot spoils things. The track of Akash Chopra (Gajraj Rao) seems forced and doesn’t add much, especially his last scene. The finale is convenient and the film ends, leaving a lot of questions unanswered. Talking of performances, Rajkummar Rao tries to put up a genuinely good show but the end result is not that impressive. The scene where he really stands out is when he shows Rukmini’s picture to Xui Lee in China. Mouni Roy looks sizzling but is decent at best. Boman Irani is far better and he’s actually the best performer in the film. He especially does very well in the twin monologues in the second half. Gajraj Rao is wasted. Paresh Rawal entertains. Manoj Joshi and Sumeet Vyas put up a good show. Danni Wang is sweet. Jeffrey Ho is over the top but it works for his character. Chitranjan Tripathi and Abhishek Banerjee fail to entice. Sanjay Goradia (Natukaka) raises laughs in the beginning. Dawei Yu is hardly there. Amyra Dastur (Roopa) gets no scope. Sachin-Jigar's music doesn’t have recall value. <em>'Odhani'</em> is used for a less than a minute in the film and plays in the end credits. <em>'Sanedo'</em> is foot-tapping. <em>'Valam'</em> is well shot. <em>'Naari Naari'</em> is not there in the film. Sachin-Jigar's background score is far better and the Chinese feel is brought alive well. Anuj Rakesh Dhawan's cinematography is neat. Sheetal Sharma's costumes are straight out life while those of Mouni Roy are appealing yet in sync with her character’s financial condition. Mayur Sharma's production design is fine. Manan Ashwin Mehta's editing should have been smoother and the film should have been shorter. On the whole, MADE IN CHINA lacks a good story and execution to make a mark. At the box office, it’ll have a tough time as it clashes with a biggie in the form of HOUSEFULL 4.

Reincarnation sagas have been immensely popular in Bollywood. There’s a certain charm to see protagonists facing an untimely death and then avenging for the wrongdoings in their next life. Interestingly, there has never been a reincarnation comedy. This void has now been filled thanks to HOUSEFULL 4. The film looks grand in every way and is also the big Diwali release. So does HOUSEFULL 4 emerge as the ideal entertainer for families in this festive season? Or does it fail to impress? Let’s analyse. <img class="aligncenter size-full wp-image-1034345" src="https://www.bollywoodhungama.com/wp-content/uploads/2019/10/housefull4567.jpg" alt="" width="750" height="450" /> HOUSEFULL is the story of three couples and how destiny helps them reunite after 600 years. The story begins in 2019. Harry (Akshay Kumar) is a barber in London who has a habit of momentarily losing his memory when he hears a loud noise. During one such time, he ends up destroying a large amount of money belonging to Michael (Sharad Kelkar) that was given to him for safekeeping by Big Bhai. Big Bhai hence gets angry at Harry, his brother Max (Bobby Deol) and their friend Roy (Riteish Deshmukh). He demands them to return the money of Bhai. Harry, Max and Roy then tell Bhai that they are in a relationship with Pooja (Pooja Hegde), Kriti (Kriti Sanon) and Neha (Kriti Kharbanda) respectively. All three are daughters of a very wealthy man, Papa Ranjeet (Ranjeet). Hence they’ll pay Big Bhai the money once they get married to them. The trio then meet Papa Ranjeet and the marriage is fixed. The venue chosen is a place called Sitamgarh, a town in India. The trio along with their girlfriends and Papa Ranjeet arrive at Sitamgarh palace, which has now been converted into a hotel. The moment they reach there, the bell boy, Aakhri Pasta (Chunky Panday) claims that all of them were a part of the kingdom of Sitamgarh. He goes overboard while making the claim, which makes the guests uncomfortable. Hence the manager Winston Churchgate (Johny Lever) fires Aakhri Pasta. However, Harry has often got flashes of his past life. He goes to Madhavgarh, where Aakhri Pasta resides, to find out more information. As soon as he reaches Madhavgarh, Harry is able to remember his past life. The story then goes on a flashback mode in the year 1419. Bala (Akshay Kumar) is a notorious Prince of Madhavgarh who is banished from the kingdom by his father (Parikshit Sahni). With the help of Pasta (Chunky Panday), he finds out that the king of Sitamgarh, Maharaja Surya Singh Rana (Ranjeet) will be celebrating his birthday and that he had three daughters, Madhu (Kriti Sanon), Meena (Kriti Kharbanda) and Mala (Pooja Hegde). Bala arrives in Sitamgarh and succeeds in wooing Madhu. Meanwhile, Bangdu Maharaj, a dancer in the royal palace, gets into a relationship with Mala while the warrior Dharam (Bobby Deol) starts an affair with Meena. The king even approves the union and their marriages are fixed. All is going well but Suryabhan (Sharad Kelkar) who wants to be king comes up with a plan. He kills brother of Gama (Rana Daggubati), a ferocious chieftain of a neighbouring kingdom. Gama is made to believe that it’s the king who ordered the killing. As a result, Gama arrives in Sitamgarh during the marriage ceremony for revenge. In the ensuing battle, they all die. What happens next forms the rest of the film. Sara Bodinar and Sajid Nadiadwala's story is very weak. Aakash Kaushik and Madhur Sharma's screenplay (with additional screenplay by Farhad Samji, Tushar Hiranandani, Sparsh Khetarpal and Tasha Bhambra) spoils the show further. It seems like the makers took audiences for granted and in the attempt to show grandeur, they missed out on the factors that made HOUSEFULL such a successful franchise. Farhad Samji's dialogues add to the fun but only at places. Farhad Samji's direction is unimpressive. Though for most parts, he is able to handle the grandeur and confusion well. The opening credits are very similar to the opening of BAAHUBALI 2: THE CONCLUSION. In fact there’s an in-your-face reference to the film later. However, several sequences are weak and the jokes fall flat. The writing is also to blame but the director should have hidden these shortcomings with his execution. Sadly that doesn’t happen. HOUSEFULL 4 begins on a very fun note. The madness that happens at Harry’s salon sets the mood. The film gets better as they all reach Sitamgarh. Once the flashback begins, one expects the film to go on a high. But the opposite happens as the humour is missing from the film. Yes there are fun moments but they aren’t funny enough to give audiences a <em>paisa</em> <em>vasool</em> time. Much of the second half is about how Harry tries to persuade Max and Roy that they are doing a mistake by getting married to their <em>bhabhis</em>. The humour here is strictly okay and in the Nawazuddin Siddiqui’s track, it goes out of the window. Thankfully the entry of Pappu Rangeela (Rana Daggubati) acts as a respite. The climax works only in parts. The continuity issues spoil the fun. <span style="text-decoration: underline;"><strong>FUN UNLIMITED: Team Housefull 4 Interview | Crazy Rapid Fire, Hilarious Quiz &amp; 5 Second Challenge</strong></span> <iframe id="jwiframe" class="playerFrame" src="https://www.bollywoodhungama.com/videos/celeb-interviews/fun-unlimited-team-housefull-4-interview-crazy-rapid-fire-hilarious-quiz-5-second-challenge/?jwembed=1" width="800" height="340" frameborder="0" allowfullscreen="allowfullscreen"></iframe> Akshay Kumar emerges as the most entertaining actor in the film. His Bala act is superb but even in the 2019 portions, he is too good. Riteish Deshmukh comes next. As the effeminate Bangdu Maharaj, he does a fine job which was expected as he has done similar roles in the past. Bobby Deol is disappointing as he doesn’t have much to contribute in terms of humour. Rana Daggubati is excellent in both avatars. He adds to the fun in the pre-climax and climax especially. Talking of the girls, all three look stunning. Kriti Sanon gets her share of interesting scenes. Kriti Kharbanda makes a mark in the scenes where she hums Hindi songs. Pooja Hegde is decent. Chunky Panday doesn't get enough scope as in part 1 and 2 but he gets to be a part of some crazy scenes. Johny Lever manages some laughs in the second half. Sharad Kelkar is efficient in a small role. Manoj Pahwa raises laughs in his cameo appearance. Ranjeet is fine. Jamie Lever is okay and the Johny Lever connection comes at a surprise. Parikshit Sahni is nothing great. Nawazuddin Siddiqui is awkward. Songs are average and they won’t have a recall value. <em>'Shaitan Ka Saala</em>' is the best of the lot. <em>'Ek Chumma'</em> comes next followed by <em>'Badla'</em>. <em>'The Bhoot Song' </em>is the weakest part of the film while <em>'Chammo'</em> is forgettable. Julius Packiam's background score is theatrical and the recurring theme is catchy. Sudeep Chatterjee's cinematography adds to the grandeur. Sham Kaushal's action is good. Amit Ray and Subrata Chakraborty's production design is splendid. Costumes compliment the characters. The ladies especially look gorgeous in both avatars. Do It Creative, AI Solve Ltd and Prime Focus's VFX is of superior quality. The Sitamgarh Kingdom especially is depicted in a fascinating manner. Rameshwar S Bhagat's editing is inconsistent and there are several jumps in the narrative. On the whole, HOUSEFULL 4 is a major disappointment and suffers on the account of poor writing and vacuous screenplay. The negative word of mouth will ensure that it will crash at the box office though it might still end up crawling to Rs. 100 crore mark on account of festive period and the extended weekend.

Over the years, there have been several films that have tackled various conditions that lower a person’s self-esteem like skin colour, obesity, stunted growth etc. Premature balding, however, has rarely been the central plot point of a film. Two very lesser known films like I M 24 [2012], HAIR IS FALLING [2011] etc have dealt with the issue but they sank without a trace. Producer Abhishek Pathak for his directorial debut, UJDA CHAMAN, tackles this idea in the romcom space. So does UJDA CHAMAN manage to entertain and move audiences? Or does it fail to entertain? Let’s analyse. <img class="aligncenter wp-image-1036216 size-full" title="Movie Review: Ujda Chaman" src="https://www.bollywoodhungama.com/wp-content/uploads/2019/11/Movie-Review-Ujda-Chaman.jpg" alt="Movie Review: Ujda Chaman" width="750" height="450" /> UJDA CHAMAN is the story of a man in search of a life partner. Chaman Kohli (Sunny Singh) is a 30-year-old lecturer in Delhi’s Hansraj College. He has faced acute hair loss in the last five years, affecting his self-esteem and also his marriage prospects. His parents, Shashi Kohli (Atul Kumar) and Sushma Kohli (Grusha Kapoor) put his five-year-old picture in his marriage bio-data and when he goes to see a prospective bride, he wears a cap. Sadly, the cap comes off and the prospective bride and her family kick the Kohli’s from their house. Their family astrologer (Saurabh Shukla) adds to their tension as he claims that if Chaman doesn’t get married before his 31^st birthday, he’ll remain celibate for life. Chaman tries to find love, first at the marriage ceremony of a friend but it proves futile. Later, he tries to woo a fellow lecturer, Ekta (Aishwarya Sakhuja) but she rejects him as she is already dating someone. All of a sudden, a first-year student, Aaina Ali Khan (Karishma Sharma) shows interest in Chaman. Chaman falls for her but in no time, he realizes that she hung out with him for vested interests. With no other option, Chaman accepts his father’s suggestion and downloads Tinder. He uploads his picture, but by cropping his bald patch. In no time, he matches with Apsara (Maanvi Gagroo), who is overweight and just like Chaman, she too puts a close up picture to hide her so-called imperfection. Both decide to meet and obviously get shocked looking at each other. What happens next forms the rest of the film. UJDA CHAMAN is an official remake of the 2017 Kannada film, ONDU MOTTEYA KATHE (Writer: Raj B Shetty). Danish J Singh's adapted story has immense potential as a lot of people can relate to the goings on shown in the film. But Danish J Singh's screenplay plays spoilsport. The narrative is engaging but only in parts. Danish J Singh's dialogues are funny and matter-of-fact. Abhishek Pathak's direction is not worthy enough. The execution seems a bit amateurish and over-the-top. The manner in which Chaman is ridiculed almost on a daily basis by the students because of his receding hairline is too much. Moreover, the direction style is not consistent. The second half looks very different from the first half. Also, with nothing unique happening in the film, the narrative becomes extremely predictable. On the positive side, a few scenes work like the track of Aaina and the hospital scene. UJDA CHAMAN begins on a fun but very loud note with the initial portions being mildly engaging. The humour looks forced in the scene where Chaman attempts to assault his brother Goldy (Gagan Arora). The track of Aaina is thankfully better but still, the film doesn’t reach a high. The intermission point is interesting and the film seems promising from here on. And the initial portions of the second half are very entertaining as Chaman and Apsara get close. But after a point, nothing novel or interesting happens. The film gets dragging and predictable. The final scene is cute but comes too late in the film. <span style="text-decoration: underline;"><strong>Ujda Chaman: Public Review | First Day First Show | Sunny Singh Nijjar | Maanvi Gagroo</strong></span> <iframe id="jwiframe" class="playerFrame" src="https://www.bollywoodhungama.com/videos/first-day-first-show/ujda-chaman-public-review-first-day-first-show-sunny-singh-nijjar-maanvi-gagroo/?jwembed=1" width="800" height="340" frameborder="0" allowfullscreen="allowfullscreen"></iframe> Sunny Singh gives his best but the desired impact is not made. The manner in which he seems so serious and lifeless throughout the film is difficult to digest. Even his narration in the beginning is needlessly done in a sombre tone. Maanvi Gagroo does quite better and is a natural. Her issues and predicaments seem very relatable and she plays the part nicely. Atul Kumar also does a genuinely good job. Grusha Kapoor is very loud. Gagan Arora is passable. Karishma Sharma plays her part as per the requirement. Aishwarya Sakhuja has a great screen presence. Sharib Hashmi (Raj) is good but sadly his track is predictable. Saurabh Shukla is strictly okay. Music is disappointing. Only <em>'Chand Nikla'</em> gets registered. The rest of the songs like <em>'Twinkle Twinkle', 'Outfit'</em> and <em>'Oh Bandeya'</em> are forgettable. Hitesh Sonik's background score is too loud and dramatic. Sudhir K Chaudhary's cinematography is neat. Tarpan Srivastav's production design is in sync with the film’s setting. Preetisheel Singh's make up and prosthetics are flawless. Rahil Raja and Himanshi Nijhawan's costumes are realistic. Mitesh Soni's editing is sans complaint and the film’s length is appropriate at 120 minutes. On the whole, UJDA CHAMAN has a promising and relatable story but the inconsistent execution and predictable narrative spoils the show. At the box office, thanks to limited buzz and lack of popular names, the film will have a difficult time.

DRIVE has now finally got a release, that too on an OTT platform. As a result, there’s a lot of negativity surrounding the film. So is DRIVE really as disappointing as believed? Or does it turn out to be a fine entertainer? Let’s analyse. <img class="aligncenter wp-image-1036519 size-full" title="Movie Review: Drive" src="https://www.bollywoodhungama.com/wp-content/uploads/2019/11/Movie-Review-Drive.jpg" alt="Movie Review: Drive" width="750" height="450" /> DRIVE is the story of a group of thieves planning the biggest heist of the country. Tara (Jacqueline Fernandez) runs a courier company in Delhi and specializes in illegal transfers for criminals. She is aided in this by Bikki (Vikramjeet Virk) and Naina (Sapna Pabbi). The trio, besides indulging in street racing, are also focused on finding a thief named King (Sushant Singh Rajput). He operates alone and robs in style. After stealing, he leaves the name of the place where he would next make the heist. After robbing a jewellery store, he hints that his next target is Rashtrapati Bhavan! Irfan (Boman Irani) from the PMO gets startled on getting this information. He teams up with Vibha Singh (Vibha Chibber), director of the monetary restrictions department and his junior, Hamid (Pankaj Tripathi) in ensuring that King doesn’t come to rob what is the most secured and one of the most important institutions in the country. King however bumps into Tara, Bikki and Sapna and after he finds them trustworthy, King tells them about his real identity. At the same time, Tara also expresses her wish of robbing Rashtrapati Bhavan for a special reason. She has found out that Vibha takes a 40% cut from those on whom she initiates a raid. After getting her share, she gives the accused a clean chit. Vibha has discovered a secret chamber in Rashtrapati Bhavan where she has stashed all the unaccounted wealth. Tara wants King’s help in robbing this hidden treasure. However, the security at Rashtrapati Bhavan is unparalleled. The aim is to enter the palace, dodge the security and CCTV cameras, locate the loot and take it out of the Bhavan. What happens next forms the rest of the film. Tarun Mansukhani's story is poor and is a <em>bhel puri</em> of various films like RACE, DHOOM, FAST &amp; FURIOUS, OCEAN’S ELEVEN, SAAHO and even Karan Johar’s earlier forgettable film, UNGLI. Tarun Mansukhani's screenplay doesn’t make the desired impact as it’s very difficult to comprehend. There are twists and turns every 10-15 minutes but instead of adding to the film’s charm, it ends up getting on viewers’ nerves. Tarun Mansukhani's dialogues are simple and straight forward. Tarun Mansukhani's direction is nothing great. He tries to do an Abbas-Mustan but fails miserably. The film lacks emotional touch. You don’t really root for any character as you don’t feel for them. A bit of Tara’s past is hinted at but that’s about it. A few developments are bewildering. The track of Arjun (Anuj Jain) is difficult to understand, especially how he managed to get into Tara’s gang. Surprisingly, Tara and his team don’t kick him out despite knowing that he’s an undercover officer! The flow of narrative is also fractured by two songs. Shockingly, the <em>'Makhna'</em> song comes up all of a sudden. For no rhyme or reason, Tara and the gang head to Israel. No explanations given! The makers, at the most, could have added a voiceover of Tara telling her gang that they should take a break for a few days but alas! <span style="text-decoration: underline;"><strong>“Working with Sushant Singh Rajput was GREAT, You…”: Sapna Pabbi | Drive | Jacqueline</strong></span> <iframe id="jwiframe" class="playerFrame" src="https://www.bollywoodhungama.com/videos/celeb-interviews/working-with-sushant-singh-rajput-was-great-you-sapna-pabbi-drive-jacqueline/?jwembed=1" width="800" height="340" frameborder="0" allowfullscreen="allowfullscreen"></iframe> DRIVE starts on a fair note. The beginning scene instantly reminds of FAST &amp; FURIOUS’s street racing scenes. But there’s a nice surprise as one expects the winning driver of the race to be Sushant. Instead, it’s Jacqueline who emerges from the car. The way King hoodwinks Tara’s men at the jewellery store and how he gets the seized car back from the cop also keeps the interest going. The trouble starts soon enough as the film gets too complicated or too unconvincing. The second half is focused on the gang trying to rob the treasure from Rashtrapati Bhavan. The manner in which they easily get access to the place is very hard to believe. Also, the various twists and turns instead of impressing viewers end up confusing them. A lot of questions remain unanswered till the very end. Sushant Singh Rajput fails to give his best. In scenes where he is supposed to give the see-I-am-so-smart cool smile, he ends up looking quite awkward. Jacqueline Fernandez in fact is much better. She looks convincing as the leader of the gang. Moreover, she also exudes considerable oomph. Vikramjeet Virk does well, as per his character requirement. Sapna Pabbi has a great screen presence and acts well. Boman Irani is dependable as always. Pankaj Tripathi is apt for the part and even raises few laughs. Vibha Chibber suits the character. Same goes for Kaustubh Kumar (Raj). Anuj Jain is hardly there. Major Bikramjeet Kanwarpal (Inspector Rathore) is decent. Music suits the mood of the film but doesn’t have a shelf life. <em>'Karma'</em>, played in the opening credits, is the best of the lot. <em>'Makhna'</em> is forced into the film. Same goes for <em>'Prem Pujari'</em>. <em>'Black Car'</em> and <em>'Tu Jaanta Nahi'</em> are relegated to the background and are forgettable. Qaran's background score is stylish. Vishal Sinha's cinematography is sans complaints. But in the Israel scene, the lensman should have captured the beauty rather than just going for BTS-style camerawork. Parichit Paralkar's production design is quite good. He had a challenging task at hand as he had to ensure that the sets resemble the various rooms and chambers of Rashtrapati Bhavan. In that regard, he succeeds in most parts. Fluiidmask Studios' VFX, however, is very tacky and fake. Stefan Richter and Vikram Dahiya's action is nothing great. The film ideally should have had more in the name of action other than just car chase scenes. Samidha Wangnoo's costumes are very rich and appealing, especially the ones worn by Jacqueline and Sapna. Tarun Mansukhani's editing is average. On the whole, DRIVE gives a déjà vu of many other films in this genre and fails to impress on account of confusing and unconvincing plot. Avoidable